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Full text of "E-mu Mo'Phatt Owner's Manual"

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Operation Manual 

©2000, E-MU Systems, Inc. d.b.a. E-MU / ENSONIQ. All rights reserved. 



Fl 10721 Rev. B 



E-MU World Headquarters 

E-MU / ENSONIQ 

P.O. Box 66001 5 

Scotts Valley, CA USA 

95067-0015 

Telephone: 831-438-1921 

Fax:831-438-8612 

Internet: www.emu.com 



Europe, Africa, Middle East 
E-MU / ENSONIQ 

Suite 6, Adam Ferguson House 
Eskmills Industrial Park 
Musselburgh, East Lothian 
Scotland, EH21 7PQ 
Tel: +44(0) 131-653-6556 
Fax: +44(0) 131-665-0473 



The following are registered worldwide trademarks owned and/or exclusively 
licensed by E-MU Systems, Inc.: E-MU® and E-MU Systems®. All other trade- 
marks are the property of their respective holders. 

Important Notice: 

In order to obtain warranty service on your Mo'Phatt unit, the serial number 
sticker must be intact and you must have a sales receipt or other proof of 
purchase. If there is no serial number sticker on the Mo'Phatt, please contact 
E-MU Systems at once. 

This product is covered under one or more of the following U.S. patents: 
4,404,529; 4,506,579; 4,699,038; 4,987,600; 5,013,105; 5,072,645; 
5,1 1 1 ,727; 5,1 44,676; 5,1 70,367; 5,248,845; 5,303,309; 5,31 7,1 04; 
5,342,990; 5,430,244 and foreign patents and/or pending patents. All other 
trademarks belong to their respective companies. Specifications and features 
are subject to change without notice. 



Mo'Phatt Operation Manual 



Table of Contents 



Table of Contents 



Introduction 1 

Product Description 1 

Overview 2 

Important Safety Instructions - English 3 

Foreign Language Warnings - German 6 

Foreign Language Warnings - French 9 

Setup 13 

Unpacking 13 

Connection Instructions 14 

Basic Setup 14 

Studio Setup 15 

Power Up! 16 

Instant Gratification 1 7 

Playing Demo Sequences 1 7 

Auditioning Presets 17 

Selecting and Quick Editing Presets 18 

Playing BEATS 20 

Exploring the Master Arpeggiator 22 

Multi-Channel Arpeggiator 23 

Basic Operations 25 

Front Panel 25 

Volume Control 25 

Master Button 25 

Edit Button 25 

Control Button 25 

Audition Button 26 

Left/Right Cursor Buttons 26 

Save/Copy Button 26 

Home/Enter Button 26 

Data Entry Control 27 



ii E-MU Systems 



Table of Contents 



Front Panel Controller Modes 27 

Real-time Control 27 

Quick Edit 28 

Deep Edit Mode 28 

Main Screen 30 

MIDI Channel Selection 30 

Preset Selection 30 

Channel Volume 31 

Channel Pan 32 

Channel Arpeggiator 32 

Sound Navigator 33 

Preset Category 33 

Instrument Category 33 

Multitimbral Operation 34 

Arpeggiator/Beats Menu 35 

Base Tempo (Master Clock) 36 

SuperBEATS 36 

BEATS Mode 39 

Status 39 

Beats Channel (BtsCh) 39 

Trigger Channel (TrigCh) 39 

BEATS Controllers 41 

Beat Velocity Group 1-4 (BtsVelGI -> BtsVelG4) 41 

BeatXpose Group 1-4 (BtsXpsGI -> BtsXpsG4) 41 

Beat Busy (BtsBusy) 41 

Beat Variation 42 

Beat Variation (BtsVari) 42 

Beats Trigger Layout 43 

1 -Bar Trigger Option 43 

Beats Trigger Offset 44 

Beats Part Velocity 44 

Beats Part Transpose 45 

Beats Part Group 46 

Master Riff 46 

Riff Tempo 47 

Riff Controllers 47 

MIDI Song Start 48 

Arp/Riff MIDI Out 48 

Arpeggiators 49 

Arp Controllers 50 

Master Arpeggiator Parameters 50 

Status 51 

Mode 51 

Note Value 52 

Arpeggiator Pattern Speed 52 



Mo'Phatt Operation Manual 



Table of Contents 



Pattern 52 

Velocity 53 

Gate Time 53 

Extension Count 54 

Extension Interval 54 

Sync 55 

Pre-Delay 55 

Duration 56 

Post-Delay 56 

Recycle 57 

Keyboard Thru 57 

Latch 57 

Key Range 58 

Send MIDI System Exclusive Data 58 

User Patterns 58 

Editing a User Arpeggiator Pattern 59 

Pattern Step Number 59 

Key 59 

Key Offset 60 

Tie 60 

Rest 60 

Skip 60 

End 60 

Velocity 61 

Duration 61 

Repeat 61 

User Pattern Name 62 

Multi-Channel Arpeggiating 63 

Using a MIDI Interface to Channelize Data 64 

Master Menu 65 

Defining Master Parameters 66 

Transpose/Tune 66 

Bend Range 66 

Velocity Curve 67 

Mix Output 67 

Master Effects 69 

Effects Mode 69 

Effects Multi Mode Control 69 

Master FXA Algorithm 70 

A Effect Types 70 

FXA Parameters: Decay/HF Damping FxB -> FxA 71 

FXA Send Amounts 71 

Master FXB Algorithm 71 

B Effect Types 72 

FXB Parameters: Feedback/LFO Rate Delay Time 72 

FXB Send Amounts 72 



iv E-MU Systems 



Table of Contents 



MIDI Parameters 73 

MIDI Mode 73 

MIDI SysEx ID 73 

MIDI Enable 74 

MIDI Program Change -> Preset 74 

Receive Program Change 75 

Real-time Controller Assignment 75 

MIDI Footswitch Assign 76 

Tempo Controller 77 

Knob Preset Quick-Edit 77 

Knobs Deep Edit 78 

Knobs/Riff MIDI Out 78 

Preset Edit All Layers Enable 78 

Front Panel Knob Calibration 79 

MIDI SysEx Packet Delay 80 

Send MIDI System Exclusive Data 80 

User Key Tuning 82 

Screen Viewing Angle 82 

Programming Basics 83 

Modulation 84 

Modulation Sources 85 

Random Sources 86 

Modulation Patchcords 86 

Envelope Generators 87 

Tempo-based Envelopes 88 

Envelope Repeat 88 

Low Frequency Oscillators (LFOs) 89 

Clock Modulation 90 

Modulation Destinations 92 

Modulation Processors 93 

Preset Modulation Processors 95 

Using the Modulation Processors 97 

More Examples 99 

Dynamic Filters 101 

What is a Filter? 102 

Parametric Filters 105 

TheZ-Plane Filter 106 

Signal Flow 107 

MIDI Channels & Real-time Controls 108 

Bank Select Commands 110 

Stereo Mix Outputs 11 1 



Mo'Phatt Operation Manual v 



Table of Contents 



Edit Menu 113 

Preset Name 114 

Four Layer Architecture 1 1 5 

Selecting Layers 115 

Defining Layer Parameters 116 

Selecting an Instrument 116 

Sound Navigator 1 16 

Defining Key Range 1 1 7 

Defining the Velocity Crossfade Range 120 

Defining the Real-time Crossfade Range 122 

Transposing the Instrument 125 

Tuning 126 

Background: Transpose vs. Coarse Tuning 1 26 

Amplifier 126 

Volume Envelope 127 

Selecting the Mode 127 

Defining the Volume Envelope 128 

Chorusing the Layer 129 

Sound Start Offset and Delay 129 

Non-Transpose Mode 1 30 

Solo Mode 130 

Assign Group 1 31 

Glide 132 

Z-Plane Filters 132 

Mo'Phatt Filter Types 133 

Filter Types 1 33 

Filter Parameters 1 35 

Filter Envelope 1 35 

Defining the Filter Envelope 1 37 

Auxiliary Envelope 1 37 

Low Frequency Oscillators (LFOs) 1 37 

Shape 138 

Sync 139 

Rate 139 

Delay 140 

Variation 141 

Patchcords 142 

Modulator Polarity 143 

Pitch Bend Range 145 

Mix Output 145 

Common Preset Parameters 146 

Preset Effects 146 

FXA Algorithm 148 

A Effect Types 148 

FXA Parameters 149 

FXA Send Amounts 149 

FXB Algorithm 149 

B Effect Types 149 



vi E-MU Systems 



Table of Contents 



FXB Parameters 150 

FXB Send Amounts 150 

Preset Patchcords 151 

Initial Controller Amount 152 

Keyboard Tuning 153 

Preset Links 155 

Preset Tempo Offset 156 

Audition Riff Selection 156 

Play Solo Layers 156 

Programming Tutorial 157 

Editing Presets 157 

Changing the Instrument 157 

Changing the Tuning of an Instrument 158 

Chorus 159 

Volume Envelope 159 

Working with Filters 161 

Adding the Filter Envelope 162 

Changing Filter Types 164 

Envelope Repeat 165 

Practice Modulating 165 

Troubleshooting 166 

Linking Presets 167 

Effects 169 

Effects Overview 1 69 

The Effects Sends 169 

Effect Types 171 

Effect Parameters 1 71 

Decay 172 

High Frequency Damping 1 72 

Feedback 172 

LFO Rate 1 72 

Delay 172 

Effects Programmed in the Preset 1 73 

Master Effects 174 

Effects Mode 1 76 

Using the Effects Channel Settings in Multi Mode 1 78 

Effect B Into Effect A 1 78 

General Effect Descriptions 180 

Reverb 180 

Chorus 181 

Doubling 181 

Slapback 181 

Stereo Flanger 181 



Mo'Phatt Operation Manual vii 



Table of Contents 



Delay 182 

Stereo Delay 182 

Panning Delay 182 

Dual Tap 182 

Vibrato 182 

Distortion 182 

Save/Copy Menu 183 

Saving a Preset 183 

Copying Information 184 

Copy Preset 184 

Copy Layer 185 

Copy Patchcords 186 

Copy Preset Patchcords 186 

Copy Arpeggiator Settings 187 

Copy Arpeggiator Pattern 187 

Copy Preset Bank 188 

Multisetups 188 

Restoring Multisetups 189 

Multisetup Name 189 

Saving Multisetups 190 

Create Random Preset 190 

Copy User Bank to Flash 191 

Rename Flash SIMM 192 

Duplicate Flash 193 

Appendix 195 

Front Panel Knob Functions 195 

Presets 196 

Preset Categories 196 

Preset Listing 197 

Instrument Listing 201 

Riff Listing 210 

Example Percussion Maps 213 

Trigger Layouts 216 

Velocity Curves 21 9 

Patchcord Amount Chart 221 

MIDI 222 

Technical Specifications 225 

Props 226 

Warranty 227 

Index 229 



viii E-MU Systems 



Introduction 



Congratulations on your purchase of the Mo'Phatt, 64-Voice Urban Dance 
Module. Mo-Phatt takes over where E-MU's legendary Planet Phatt left off 
with 32 MB of fresh new sounds and lighting fast response time. Mo'Phatt 
was designed for performance, so make sure to try out all the controller 
knobs on each preset. 



Product 
Description 



Mo'Phatt contains two user-upgradable sound SIMM sockets. Need more 
sounds? New sounds can be added as easily as plugging in a new 16MB or 
32MB SIMM module. Many sets are available now, with more coming all 
the time, or you can create your own custom ROMs using E-MU's E4 Ultra 
samplers. 

Mo'Phatt contains 512 user presets and can hold literally thousands of 
factory presets. (ROM presets are automatically added when sound SIMMs are 
installed. As an example, a 32 MB SIMM may contain up to 1024 ROM presets.) 
Mo'Phatt's Sound Navigator makes it easy to find the exact sound you 
want. It's powerful, yet simple to use. 

Mo'Phatt contains E-MU's new SuperBEATS Mode, which is a whole new 
way to create dynamic, original music. With SuperBEATS, you trigger, latch 
and unlatch synced loops and grooves from your keyboard. Simply select a 
"bts:" preset and you're ready to groove! Then use Mo'Phatt's performance 
controls to alter and mutate the rhythm or the sound itself. 

Then there's Mo'Phatt's revolutionary Rhythmic Pattern Generator/ Arpeg- 
giator which can play up to 16 synchronized arpeggiator patterns at once 
using a different sound for each! Patterns can be edited using pattern flow 
commands such as: delay for 2 bars, play for 4 bars, hold for 2 beats and 
repeat. You can program or download 100 user patterns in addition to the 
200 factory patterns. 

The extremely flexible yet easy to use 4-layer synthesizer voices make it 
easy to build sounds of any kind. Layers can be switched or crossfaded 
using key position, velocity, real-time controllers or any modulation source. 
Mo'Phatt also contains 50 different 2nd to 12th order resonant & modeling 



Mo'Phatt Operation Manual 1 



Introduction 
Overview 



S*> 



The optional Turbo 
upgrade adds the following 
features to your Mo 'Phatt: 

• / 28 voice polyphony 

• 4 submix analog outputs 

• 32 MIDI channel operation 

• 2 additional sound ROM slots 

• S/PDIF stereo digital output 



Overview 



filters which are used to shape and modify the waveforms contained in 32 
megabytes (MB) of ROM. 

Sixty four modulation sources include three multistage envelopes and two 
LFOs per layer, as well as full MIDI control over virtually every parameter. 
The digital patch bay with 24 cords per layer, (and 12 more cords per 
preset) lets you connect modulation sources to 64 destinations in any 
imaginable way. The patch bay contains a set of arithmetic modifiers, 
letting you create complex synthesis models. Synth parameters as well as 
arpeggiator and BEAT tempos can be controlled from Mo'Phatt's internal 
clock (or an external MIDI clock). Up to 8 LFOs and 12 envelopes can be 
perfectly synchronized at different rates. This is an extremely powerful 
synthesizer! 

Four front panel real-time controllers give you control over 12 user- 
selectable parameters. The real-time knobs can adjust multiple parameters 
at once, allowing complex levels of control. For example, one knob can 
simultaneously turn up filter cutoff, while detuning one sample, and 
adjusting the release time of the volume envelope. Virtually every synth 
parameter in Mo'Phatt is controllable using the real-time knobs or by any 
internal or external control source. 

Once you have created your preset, you can add richness to your sound 
using Mo'Phatt's 24-bit stereo effects. You can choose a different effects 
setup for each preset from over 60 algorithms. Mo'Phatt's effects section is 
actually two separate effects processors with control over each wet/dry mix 
level on four effects sends. Effects Processor "A" contains primarily 
ambiance algorithms like reverb and delays, while effects processor "B" 
contains primarily spectral algorithms such as chorus, flange, phase, 
distortion, and delay. Effects can be linked to each preset or used globally to 
further enhance your sound. 

Other features include multiple solo, voice assignment and performance 
modes for expressive control, 12 user-definable alternate tunings, and, of 
course, an extensive MIDI implementation. 



This is the Getting Started Manual for setting up and playing Mo'Phatt. The 
first part of the manual describes how to unpack and setup the hardware. 
The next chapters provide step-by-step instructions for the most common 
and widely used features of Mo'Phatt. This section also defines each of the 
parameters and provides information on how to use them. 

The complete operation manual is provided to you in pdf format on 
CD-ROM. The CD-ROM contains pdf files for both Mac and PC as well as 
the complete MIDI SysEx specification and a software downloading tool 
which allows you to retrieve the latest software and new features from the 
world wide web. 



2 E-MU Systems 



Important Safety 
Instructions 



Grounding 
Instructions 



Danger! 



Caution! 



Use in countries other than the U.S.A. may require the use of a different 
line cord or attachment plug, or both. To reduce the risk of fire or electric 
shock, refer all servicing to qualified service personnel. Do not expose this 
product to rain or moisture. There are no user serviceable parts or adjust- 
ments inside the unit. 



This product must be grounded. If it should malfunction or break down, 
grounding provides a path of least resistance for electric current, reducing 
the risk of electric shock. This product is equipped with a cord having an 
equipment-grounding conductor and a grounding plug. The plug must be 
plugged into an appropriate outlet properly installed and grounded in 
accordance with all local codes and ordinances. 



Improper connection of the equipment's grounding conductor can result in 
the risk of electric shock. Check with a qualified electrician or service 
personnel if you are in doubt as to whether the product is properly 
grounded. Do not modify the plug provided with this product. If it will not 
fit the outlet, have a proper outlet installed by a qualified technician. 



If your Mo'Phatt (Model Number 9111) is rack mounted, you must use a 
standard 19 inch open frame rack. Screw-on rack mount ears are provided 
for this purpose. 



Mo'Phatt Operation Manual 3 



Important Safety Instructions 
User Maintenance Instructions 



User 

Maintenance 

Instructions 




This symbol is intended to 

alert you to the presence of 

important operating and 

maintenance (servicing) 

instructions in the literature 

accompanying the unit. 




This symbol is intended to 
alert you to the presence of 

uninsulated dangerous 

voltage within the product's 

enclosure that may be of 

sufficient magnitude to 

constitute a risk of electric 

shock to persons. 



1. The Mo'Phatt should be kept clean and dust free. Periodically wipe the 
unit with a clean, lint free cloth. Do not use solvents or cleaners. 

2. There are no user lubrication or adjustment requirements. 

Caution -. These servicing instructions are for use by qualified personnel only. To 
reduce the risk of electric shock, do not perform any servicing other than that 
contained in these operating instructions unless you are qualified to do so. Refer 
all servicing to qualified service personnel. 

INSTRUCTIONS PERTAINING TO A RISK OF FIRE, 
ELECTRIC SHOCK, OR INJURY TO PERSONS. 

READ THESE INSTRUCTIONS: When using electric products, basic precau- 
tions should always be adhered to, including the following: 

1. Read all instructions before using Mo'Phatt. 

2. To reduce the risk of injury, close supervision is necessary when using 
Mo'Phatt near children. 

3. Do not use Mo'Phatt near water — for example near a bathtub, 
washbowl, kitchen sink, in a wet basement, on a wet bar, or near or in a 
swimming pool. Do not expose the unit to drips or splashes. 

4. The Mo'Phatt should be situated so that its location or position does 
not interfere with its proper ventilation. 

5. The Mo'Phatt should be located away from heat sources such as 
radiators, heat registers, fireplaces, stoves, or ovens. 

6. The Mo'Phatt should be connected only to a power supply of the type 
described in the operating instructions and marked on the product. 

7. Care should be taken so that objects do not fall and liquids are not 
spilled into the enclosure of Mo'Phatt through openings. 

8. This Mo'Phatt may be equipped with a polarized line plug (one blade 
wider that the other). This is a safety feature. If you are unable to insert 
this plug into the outlet, do not defeat the safety purpose of the 
plug.Contact an electrician to replace your obsolete outlet. 

9. Protect the power cord from being walked on or pinched, particularly at 
plugs, convenience receptacles, and the point where they exit from the 
unit. 

10. Unplug the Mo'Phatt from the power outlet during lightning storms or 
when left unused for a long period of time. 

11. This product, in combination with an amplifier and headphones and 
speakers, may be capable of producing sound levels that could cause 
permanent hearing loss. Do not operate for a long period of time at a 
high volume level or at a level that is uncomfortable. If you experience 
any hearing loss or ringing in the ears, consult an audiologist. 

12. Only use attachments and accessories specified by E-mu Systems. 

13. The Mo'Phatt should be serviced by qualified service personnel when: 



4 E-MU Systems 



Important Safety Instructions 
Radio and Television Interference 



Radio and 
Television 
Interference 



14. 



A. The power supply cord has been damaged; or 

B. Objects have fallen, or liquid has been spilled into the unit; or 

C. The unit has been exposed to rain; or 

D. The unit has been dropped or the enclosure damaged; or 

E. The Mo'Phatt does not operate normally or exhibits a marked 
change in performance. 

All servicing should be referred to qualified service personnel. 



Save These Instructions. 



The equipment described in this manual generates and uses radio- 
frequency energy. If it is not installed and used properly — that is, in strict 
accordance with our instructions — it may cause interference with radio 
and television reception. 

This equipment has been tested and complies with the limits for a Class B 
computing device in accordance with the specifications in Subpart J of Part 
15 of the FCC rules. These rules are designed to provide reasonable 
protection against such interference in a residential installation. However, 
there is no guarantee that the interference will not occur in a particular 
installation, especially if a "rabbit ear" TV antenna is used. 

If Mo'Phatt does cause interference to radio or television reception, you can 
try to correct the interference by using one or more of the following 
measures: 

• Turn the television or radio antenna until the interference stops. 

• Move Mo'Phatt to one side or the other of the television or radio. 

• Move Mo'Phatt farther away from the television or radio. 

• Plug Mo'Phatt into an outlet on a different circuit than the television or 
radio. 

• Consider installing a rooftop antenna with a coaxial lead-in between the 
antenna and television set. 



Mo'Phatt Operation Manual 5 



Foreign Language Warnings - German 
Wichtige Sicherheitsvorschriften 



Wichtige 
Sicherheits- 
vorschriften 



Erdungsin- 
struktionen 



Gefahr 



Vorsicht 



Foreign Language Warnings 
- German 



In Landern ausserhalb den U.S.A. konnen andere Kabel oder Stecker 
notwendig werden. Zur Verminderung des Risikos von Feuer oder eines 
elektrischen Schlages iibergebe man den Service an qualifizierte Fachleute. 
Das Gerat niemals Regen oder Nasse aussetzen. 



Das Gerat muss geerdet sein. Bei einem Defekt oder Ausfall bietet Erdung 
dem elektrischen Strom den Weg des geringsten Widerstandes und 
reduziert das Risiko eines Schlages. Dieses Gerat ist mit einem geerdeten 
Kabel und Stecker ausgeriistet. Der Stecker muss in eine passende, 
einwandfrei montierte und geerdete Steckdose in Ubereinstimmung mit 
den ortlichen Vorschriften eingefuhrt werden. 



Unvorschriftsgemasser Anschluss des Gerates kann zum Risiko eines 
elektrischen Schlages fuhren. Im Zweifelsfalle liber die ordnungsgemasse 
Erdung soil ein qualifizierter Elektriker oder eine Serviecestelle beigezogen 
werden. Andern Sie den mitgelieferten Stecker nicht. Sollte er nicht in die 
Steckdose passen, soil die einwandfreie Installation durch einen qualifi- 
zierten Techniker erfolgen. 



Wird der Mo'Phatt (Modell Nummer 9111) in einem Rackgestell montiert, 
muss ein offener 19-Zollrahmen verwendet werden. 



6 E-MU Systems 



Foreign Language Warnings - German 
Unterhaltsinstruktionen fur anwender 



Unterhaltsin- 
struktionen 
fur anwender 



Vorsicht 




Dieses Symbol weist den 

Anwender auf wichtige 

Cebrauchs- und Service- 

Vorschriften in den beilieg- 

enden Drucksachen. 




Dieses Symbol verweist auf 

nicht-isolierte Stromspan- 

nungen im Gerate-lnnern, 

welche zu einem elektrischen 

Schlag fuhren konnten. 



1. Mo'Phatt soil sauber und staubfrei gehalten werden. Das Gerat mit 
einem sauberen und saurefreien Tuch periodisch abreiben. Keine 
Losungs- oder Reinigungsmittel anwenden. 

2. Schmieren und Justieren sind nicht notwendig. 

3. Bei weiteren Servicefragen wende man sich an eine qualifizierte Service- 
stelle. 



Diese Gebrauchsanweisungen sind nur fur qualifizierte Techniker 
beabsichtigt. Um die Gefahr eines elektrischen Schlages zu vermeiden, 
sollen Sie keine Arbeit unternehmen, die nicht in diesen Instruktionen 
vorgeschrieben ist. Wenden Sie Sich bei weiteren Servicefragen an eine 
qualifizierte Servicestelle. 

INSTRUKTIONEN BETR. FEUERRISIKO, 
ELEKTROSCHOCK ODER VERLETZUNG VON 
PERSONEN 

WARNUNG; Beim Einsatz elektrischer Gerate sollten 
folgende Vorsichtsmassregeln stets beachtet werden: 

1. Lesen Sie vor dem Einschalten des Mo'Phatt alle Instruktionen. 

2. Zur Vermeidung von Verletzungsrisiken mlissen Kinder bei einge- 
schaltetem Mo'Phatt sorgfaltig iiberwacht werden. 

3. Mo'Phatt nicht in der Nahe von Wasser in Betrieb nehmen -- z.B. in der 
Nahe von Badewannen, Waschschusseln, auf nassen Gestellen oder am 
Swimmingpool. 

4. Mo'Phatt stets so aufstellen, dass seine Beliiftung nicht beeintrachtigt 
wird. 

5. Mo'Phatt nicht in der Nahe von Hitze aufstellen, wie Heizkorper, 
offenem Feuer, Ofen oder von Backofen. 

6. Mo'Phatt ausschliesslich mit einem Netzgerat gemass Bedienungsanle- 
itung und Geratemarkierung verwenden. 

7. Dieses Gerat kann bei Verwendung von Kopfhorern und Verstarkern 
hohe Lautpegel erzeugen, welche zu bleibenden Gehorschaden fuhren. 
Arbeiten Sie nicht wahrend langerer Zeit mit voller Lautstarke oder 
hohem Lautpegel. Stellen Sie Gehorverlust oder Ohrenlauten fest, 
wenden Sie sich an einen Ohrenartz. 

8. Mo'Phatt kann mit einem polarisierten Kabelstecker (mit ungleichen 
Stiften) ausgeriistet sein. Das geschieht fur Ihre Sicherheit. Konnen Sie 
den Stecker nicht in die Steckdose einfiihren, andern Sie nicht den 
Stecker ab, sondern wenden Sie sich an einen Elektriker. 

9. Das Netzkabel des Mo'Phatt bei langerem Nichtgebrauch aus der 
Steckdose Ziehen. 



Mo'Phatt Operation Manual 7 



Foreign Language Warnings - German 



10. Vermeiden Sie sorgfaltig das Eindringen von Gegenstanden oder 
Fliissigkeiten durch die Gehauseoffnungen. 

11. Das Gerat soil durch qualifizierte Serviceleute gewartet werden, falls: 

A. das Netzkabel beschadigt wurde, oder 

B. Gegenstande oder Fliissigkeit in das Gerat gelangten, 

C. das Gerat Regen ausgesetzt war, oder 

D. das Gerat nicht normal oder einwandfrei arbeitet, oder 

E. das Gerat stiirzte oder sein Gehause beschadigt wurde. 

12. Servicearbeiten sollten nur qualifizierten Fachleuten anvertraut werden. 



DIESE INSTRUKTIONEN AUFBEWAHREN 



8 E-MU Systems 



Foreign Language Warnings - French 
Instructions de Securite Importantes 



Instructions 
de Securite 
Importantes 

Instructions 
de Mise a la 
Terre 



Danger 



Attention 



Instructions 

de 

Maintenance 



Foreign Language Warnings 
- French 



Une utilisation dans des pays autres que les U.S.A. peut necessiter l'usage 
d'un cordon d'alimentation different. Ann de reduire les risques d'incendie 
ou d'electrocution, referez-vous a un personnel de service qualifie, et 
n'exposez pas cet appareil a la pluie ou a l'humidite. 



Cet appareil doit etre relie a la terre. Dans le cas d'une malfonction 
eventuelle, la terre fournit un passage de moindre resistance pour le 
courant electrique, reduisant ainsi les risques d'electrocution. Le Mo'Phatt 
est equipe d'un cordon muni d'un conducteur et d'une fiche devant etre 
branchee dans une prise appropriee et reliee a la terre en conformite avec 
les normes locales. 



Une connexion incorrecte peut resulter en des risques d'electrocution. 
Verifiez avec un technicien qualifie si vous avez des doutes quant a la 
connexion. Ne modifiez pas vous-meme le cordon d'alimentation livre avec 
cet appareil; s'il ne rentre pas dans la prise, faites-en installer un autre par 
un technicien qualifie. 



Si le Mo'Phatt (Model 9111) est installe dans un rack, utilisez un rack 
standard ouvert de 48.25cm. 



1. le Mo'Phatt doit etre maintenu propre et sans poussiere. Nettoyez-le 
periodiquement a l'aide d'un chiffon propre et non-pelucheux. 
N'utilisez pas de solvants, ou d'autres produits de nettoyage. 

2. Aucune lubrincation et aucun reglage ne sont necessaires de votre part. 

3. Pour tout autre service, referez-vous a un personnel qualifie. 



Mo'Phatt Operation Manual 9 



Foreign Language Warnings - French 
Instructions de Maintenance 




Ce symbole vous alerte de la 

presence destructions 

importantes d'operation et 

de maintenance dans la 

notice accompagnant 

I'appareil. 




Ce symbole vous alerte de 

la presence d'un voltage 

non-isole dangereux a 

I'interieur de I'appareil, 

pouvant etre d'une 

magnitude suffisante pour 

constituer un risque 

d'electrocution. 



Instructions Concernant les Risques d'lncendie, 
d'Electrocution, ou de Blessures Corporelles. 

ATTENTION: Lorsque vous utilisez des appareils electriques, 
certaines precautions elementaires doivent tou jours etre prises, 
incluant les suivantes: 

Ces instructions de depanage sont destinees uniquement aux personnes 
qualifiers. Ann d'eviter les risques d'electrocution, n'effectuez que les opera- 
tions decrites dans ce manuel, a moins que vous ne soyez qualifie pour cela. 
Faites effectuer toute reparation par une personne qualifie. 

1. Lisez bien toutes les instructions avant d'utiliser le Mo'Phatt. 

2. Afin de reduire les risques de blessures, une attention particuliere est 
necessaire en la presence d'enfants en bas age. 

3. N'utilisez pas le Mo'Phatt dans ou pres d'endroits humides - par 
exemple pres d'une baignoire, d'un lavabo, dans les toilettes, dans une 
cave humide, sur un bar frequente, en presence d'un bull-dog en rut, ou 
dans une piscine pleine. Protegez cet appareil de tout liquide, 
eclaboussure ou fuite. 

4. Le Mo'Phatt doit etre place de facon a ce que sa position n'interfere pas 
avec sa propre ventilation. 

Le Mo'Phatt doit etre place loin de sources de chaleur telles que des 
radiateurs, cheminees, fours, ou groupies en chaleur. 

Le Mo'Phatt doit uniquement etre connecte a une alimentation du type 
decrit dans les instructions d'operation et tel qu'indique sur I'appareil. 

Une attention particuliere doit etre observee quant aux objets pouvant 
tomber et aux liquides pouvant etre verses sur et a I'interieur de le 
Mo'Phatt. 

Le Mo'Phatt peut etre equipe d'une fiche secteur polarisee (avec une 
broche plus large que l'autre). C'est une mesure de securite. Si vous ne 
pouvez pas brancher cette fiche dans une prise, ne neutralisez pas cette 
securite. Contactez plutot un electricien pour remplacer la prise 
obsolete. 

Evitez de marcher sur le cordon d'alimentation ou de le coincer, parti- 
culierement pres des prises de courant, des boitiers 'electriques dt du 
point de sortie de I'appareil. 

Le cordon d'alimentation de le Mo'Phatt doit etre debranche lorsque ce 
dernier n'est pas utilise pendant une longue periode. 

Cet appareil, combine avec un amplificateur, des haut-parleurs, et/ou 
un casque, est capable de generer des niveaux sonores pouvant 
occasionner une perte de l'ouie permanente. Ne travaillez pas trop 
longtemps a un volume trop eleve ou meme inconfortable. Si vous 
observez une perte de l'audition ou un bourdonnement dans les 
oreilles, consultez un O.R.L. 

12. N'utilisez que les accessoires sp'ecifi'es par E-mu Systems. 

13. Cet appareil doit etre examine par un personnel qualifie lorsque: 



5. 



6. 



7. 



8. 



9. 



10. 



11. 



10 E-MU Systems 



Foreign Language Warnings - French 
Interferences Radio et Television 



Interferences 
Radio et 
Television 



14. 



A. Le cordon d'alimentation a ete endommage, ou 

B. Des objets sont tombes, ou du liquide a ete verse sur/a l'interieur 
de l'appareil, ou 

C. Le Mo'Phatt a ete expose a la pluie, ou 

D. Le Mo'Phatt est tombe, ou 

E. Le Mo'Phatt ne fonctionne pas normalement, ou affiche un 
changement radical de performance. 

Tout service doit etre effectue par un personnel qualifie. 



SAUVEGARDEZ CES INSTRUCTIONS 



L'appareil decrit dans cette notice genere et utilise une energie de 
frequence-radio. S'il n'est pas installe et utilise correctement - c'est a dire en 
suivant strictement nos instructions - il peut occasionner des interferences 
avec la reception d'une radio ou d'une television. 

Cet appareil a ete teste et est conforme aux normes de Classe A en accord 
avec les specifications du paragraphe J de la section 15 des lois FCC. Ces lois 
sont designees pour fournir une protection raisonnable contre de telles 
interferences dans une installation residentielle. Toutefois, il n'est pas 
garanti qu'aucune interference n'apparaisse dans des installations particu- 
lieres, et plus specialement lorsqu'une antenne de television en «oreilles de 
lapin» est utilisee. 

Si le Mo'Phatt occasionne des interferences , vous pouvez essayer de les 
corriger en utilisant une ou plusieurs des mesures suivantes: 

• Tournez l'antenne de la tele ou de la radio jusqu'a ce que les inter- 
ferences disparaissent. 

• Deplacez le Mo'Phatt d'un cote ou de l'autre de la tele ou de la radio. 

• Eloignez le Mo'Phatt de la tele ou de la radio. 

• Branchez le Mo'Phatt sur une prise differente que la tele ou la radio. 

• Installez une antenne sur le toit munie d'une connexion coaxiale entre 
elle et le poste de television. 



Mo'Phatt Operation Manual 11 



Declaration of Conformity 
Interferences Radio et Television 



Declaration of Conformity 




Manufacturer: 

E-MU/Ensoniq 

1600 Green Hills Road 

Scotts Valley, CA 95067-0015 USA 

We hereby declare that the equipment listed herein conforms to the 
harmonized standards of the following European Commission Directives: 
89/336/EEC and 72/23/EEC. 



Trade Name: 
Model Number: 



Audio Sampler/Emulator System 
Proteus 1000 CR 



Under 89/336/EEC as amended by 92/31 /EEC, and 72/23/EEC 

In accordance with EN 55103-1:1996, Emission Environments El, E2, E3 

In accordance with EN 55103-2:1996, Immunity Environments El, E2, E3 

Test information is contained in a report by Atlas Compliance and 
Engineering dated November 15, 1999. 

Report No.: 9949EMU2KCR103 

Under 73/23/EEC as amended by 93/68/EEC 

In accordance with EN 60950 with amendments Al, A2, A3, A4, All 

This Declaration is made November 15, 1999 



12 E-MU Systems 



Setup 



This section thoroughly describes how to set up your new Mo'Phatt for use. 
Setup includes unpacking instructions and how to connect the cables. 



Unpacking 



Carefully remove Mo'Phatt from the packaging material. Take care to save 
the packing materials in case you need to transport the unit. Check to make 
sure all components are included and in good condition. If there are 
missing or damaged components, contact E-MU Systems immediately for 
replacement or repair. 

The Mo'Phatt box should include the following components: 

• Mo'Phatt rack unit 

• Power cable 

• Rack mounting ears 

• This operation manual 

• Manuals CD-ROM 



Mo'Phatt Operation Manual 13 



Setup 
Connection Instructions 



Connection 
Instructions 

Basic Setup 



X> If Mo 'Phatt does not 
seem to be responding correctly, 
make sure that both Mo'Phatt 
and your MIDI controller are set 
to the same MIDI channel. 



% 



The Right Main output 
jack carries a mono mix of the 
left and right channels when the 
Left Main plug is not plugged in. 

The Left Main output jack is a 
stereo jack carrying both 
channels when the right output 
jack is empty. 



Footswitch 




The Headphone 
Output is located 
on the Front Panel 




JIDIA ~ OUTPUTS ■- ™ ! — (|J)»-» m "-'- , ' W 

Off*. /T\ " SUB? L H SJB1 L R MAIN L S/PDIF f — N X — N 

© © OOOOC§)#JO O O aimnt 

IN OUT THRU K_y V_y V_y V_y *^7 ''^i? IN THRU g.:gtts ,.ll = . c. . s t 



To 
Main Outs 



Male RCA plug 

to 
Male Phono Plug 



Aux. or 
Tape In 




\t \r 



Mixer 





I i irvim 


















© 
® 






© 
® 













Amp 



1 


11 


1 


1 


11 


> ss 











Home Stereo 
System 




Speakers 



Home Studio 
System 



© 




MIDI In 

Mo'Phatt is controlled by MIDI messages received at the MIDI In jack. 
Normally you will connect MIDI Out of a controller such as a MIDI 
keyboard to Mo'Phatt's MIDI In jack. Be sure to connect a Footswitch and/ 
or Control Pedal to your MIDI keyboard. Many of the factory presets use 
MIDI controllers. 



Outputs 

In order to reproduce Mo'Phatt's wide dynamic range and frequency 
response, use a high quality amplification and speaker system such as a 
keyboard amplifier or home stereo system. A stereo setup is highly desirable 
because of the added realism of stereophonic sound. Headphones can be 
used if an amplifier and speaker system is not available. Plug stereo 
headphones into the headphone jack on the left side of the front panel. 



14 E-MU Systems 



Setup 
Connection Instructions 



Studio Setup 



MIDI Controller 

(MIDI Keyboard, Sequencer, etc.) 




Additional 
MIDI 
Devices 



Q o © oooo 



••• 



OO: 



Mixer 























I 


1 


i 




























1 


s 


1 


1 


:: 


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1 


1 


g 


II 


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ran 



















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MIDI In 

In this setup, Mo'Phatt is controlled by MIDI messages, received at the 
MIDI input, which are routed by the MIDI interface. The MIDI interface 
allows any MIDI controller, such as a MIDI keyboard or a computer, to 
control the module. 

MIDI Out 

The MIDI Out jack transmits program data to a computer or other device. 

Outputs 

A stereo connection is highly desirable because of the added realism of 
stereophonic sound. Plug stereo headphones into the headphone jack 
located on the left side of the front panel. The Right Main output jack 
serves as a mono output when the Left Main plug is not plugged in. The 
Left Main output jack is a stereo jack carrying both channels when the 
Right output jack is empty. 



Mo'Phatt Operation Manual 15 



Setup 
Connection Instructions 



Power Up! 



The power switch is located on the right side of the front panel. You can 
turn on the Mo'Phatt and its MIDI controller in any order. When power is 
applied the liquid crystal display will light, indicating that Mo'Phatt is 
operating. You may have noticed that there is no 110/220 Volt power 
selector switch on Mo'Phatt. 



Mo'Phatt automatically switches itself to the 
proper line voltage. 



16 E-MU Systems 



Setup 
Instant Gratification 



Instant 
Gratification 

Playing Demo 
Sequences 



Auditioning Presets 



This section presents step-by-step instructions for the most fundamental 
operations to get you up and making sounds quickly 



Mo'Phatt has several factory demonstration sequences that let you hear 
what this incredible machine can do. The actual number of demo 
sequences depends on which ROM sounds sets are installed. You can play 
these demo sequences by accessing the Demo Sequence page. 



DEMO SEQUENCES 
Ph Phatling 



PHRTT 



► To Play a Demo Sequence 

1. Press and hold the Master and Edit buttons at the same time to enter 
the Demo Sequence page. The screen shown above appears. 

Select a sequence using the data entry control. The Enter LED will be 
flashing. 

Press the Enter button to begin playing the selected sequence. The 
screen shown below appears. 



2. 



PLRYING: Phatling 
Press ENTER to stop 



5. 



6. 



Press the Enter button again to stop playing the sequence. 

When a demo sequence plays to the end, the next demo will automati- 
cally begin playing. The screen will display the new demo name. 

With the sequence stopped, press either the Master, Edit or Arp/Beats 
button to Exit the demo sequence mode. 



The front panel audition button allows you to hear any preset in Mo'Phatt 
without even hooking up a MIDI keyboard! When the Audition button is 
pressed, the LED next to the button will illuminate and a short 
"Riff" (programmed as part of the preset) will play. The Riff is latched on 
and plays continuously until the button is pressed again. Presets can be 
changed while Audition is latched on. 

The top line of the display changes to show the MIDI Bank Select controller 
values needed to select the preset being auditioned. This is an extremely 
handy feature when sequencing. 



Mo'Phatt Operation Manual 17 



Setup 
Instant Gratification 



Selecting and Quick 
Editing Presets 



Bank M5B:007 LSB:2 PHRTT 
125 2 key: SynhissOrgan 



► To Audition a Preset 



1. 



Select a preset by turning the data entry control while the cursor is 
anywhere on the lower line. The preset number field (shown above) is 
the normal position of the cursor and pressing the Enter button will 
return the cursor to this position. 

Press the Audition button on the front panel. The Audition LED will 
illuminate and a short riff will play the selected preset. 

Continue to select and audition presets. 

Press the Audition button again to turn Audition mode off. The LED 
will extinguish. 



The first thing you'll do with the Mo'Phatt is select and play the factory 
provided presets. Mo'Phatt comes standard with 8 banks containing 128 
presets each. See "Main Screen" on page 30. 





Initial 


Initial 






Channel 


Volume 


Pan 


Arpeggiator 


Preset 


Number 


Setting 


Setting 


Setting 
i 


Location 



C01 V127 POIf 



R:off USER 



125 * key: SynhissOrgan 



j^ 



Blinking 
Cursor 



T <s ^~ 

\ \ 

\ s 

Preset Bank 

Number Number 



■Y 



Preset 
Category 



\ 



Preset 
Name 



The first four banks are USER locations that can be overwritten and used to 
store your own presets. The presets that come stored in the USER presets are 
duplicated in banks 0-3 of the "Mo'Phatt" ROM bank, so feel free to 
overwrite them with your own presets. You won't be losing anything. 

The ROM Card identifier is shown in the top right of the display. The preset 
is identified in the bottom line of the main screen (the screen that appears 
when you first power up the unit). 



18 E-MU Systems 



Setup 
Instant Gratification 



X 



You can select presets 
from the Preset Number, Bank 
Number, Preset Category or 
Preset Name fields. 



Each bank of 128 presets is identified by a superscripted Bank Number to the 
right of the preset number. The bank numbers reset to at the start of each 
ROM card you have installed. So with the Mo'Phatt ROM installed, the 
USER banks will go from 0-3, then start over from 0-3 for the Mo'Phatt 
ROM banks. 




Bank Organization 




USER 


BankO 


1 28 Presets 




USER 


Bankl 


1 28 Presets 




USER 


Bank 2 


1 28 Presets 




USER 


Bank 3 


1 28 Presets 


PHATT 


BankO 


1 28 Presets 


PHATT 


Bankl 


1 28 Presets 


PHATT 


Bank 2 


1 28 Presets 


PHATT 


Bank 3 


1 28 Presets 



The User Banks 

are duplicated 

in the PHATT 

ROM bankS. 



The four User Banks can hold 512 custom presets. Feel free to overwrite these 
since the factory user presets are duplicated in nonvolatile ROM. 

To the right of the preset number and bank is the preset Category name 
followed by the Preset Name. 

► To Change the Preset 

1. Place the cursor under the first character in the Preset Number field. 
This is the "Home" position which is selected instantly when you press 
the Home/Enter button. Pressing either of the two cursor buttons 
repeatedly also gets you there. 

2. Turn the Data Entry Control knob on the front panel to select a new 
preset number. If you turn the knob slowly, the presets advance one 
number for each "click" of the knob. If you spin the knob quickly, the 
numbers advance much faster (more than one number per click). 

3. Play the keyboard (or press the Audition button) and listen to the 
sounds made by your Mo'Phatt! 

4. TURN THE FOUR KNOBS on the front panel and note how they 
change the sound of each preset! Press the button to the left of the 
controller knobs to change the function of the knobs. Don't worry 
about ruining the sound, the values are automatically reset as soon as 
you select a new preset. 



Mo'Phatt Operation Manual 19 



Setup 
Instant Gratification 



Playing BEATS 



This function controls the BEATS for the currently selected MIDI channel 
(the default channel is 1). Unlike the Arpeggiators, BEATS is only active on 
one MIDI channel at a time. 

► To Play BEATS (Quick Start) 

1. Select any preset with the bts: prefix. 

2. Play the keyboard keys in the range shown in the default template 
below. Be sure to try out each key. 



Default Assignment 




O 
<N _Q 




of BEATS 


<— ro 


2 £ 


Q. 

o 


. 


cn^ 




ro£ 


CD *~ 

5 y 


+j ro uo 


cn t 


oup 
art/ 
ute 


C CD 


• - CD CD 
X D_ D_ 


_c _c 





Main Groove 



Alt. Groove 



II III II III 



ci 



D1 



E1 



F1 



CI 



A1 



B1 



C2 



D2 



E2 



F2 



G2 



A2 



B2 



,— ,— (NCNCNCN^-,— ^>- (N-<t ^^ 
J* ■£ -* CD U = = "O ro Q. Q. Q. Js O 



D_ D_ 



O) 



3. Now try out the "Wild 1-4" knobs and other "bts:" presets. 

• If BEATS are not playing: Go into the Arp/Beats menu, locate the 
screen shown below and set the parameters exactly as shown. 



BERTS MODE 
BtsCh: Basic 



Status: P 
TrigCh:Basic 



20 E-MU Systems 



Setup 
Instant Gratification 



► To Latch BEATS Triggers 

The Trigger Keys can be Latched so that pressing once turns a key on and 
pressing the key again turns it off. 

1. Press the Arp/Beats button and turn the Data Entry control until the 
following screen appears (this is the 3rd screen from the beginning). 



BERT5 TRIGGER LRYOUT 
Part 1 Key: CI unlatch 



2. Press either cursor button repeatedly until it is underneath the Part 
field. 

3. Rotate the Data Entry Control to select the desired part. 

4. Press either cursor button repeatedly until it is underneath the unlatch/ 
latch field. 

5. Rotate the Data Entry Control to change the status to "Latch". 

6. Repeat steps 2-5 until Parts 1-16 are latched. 

7. Now play the Trigger Keys and hear the results. 

8. Press the Clear Trigger Key to kill all latched Parts. 

9. Start up a few more triggers and play with the Mute key. 



► To play BEATS on a different MIDI channel 

You can have your cake and eat it too. 



BERTS MODE 
BtsCh: 01 



Status: P 
TrigCh:Basic 



1. Press the Arp/Beats button and locate the screen shown above (the 2nd 
screen from the beginning). 

1. Set your MIDI keyboard to transmit on channel 2. 

2. Select any "bts:" preset on channel 1 (main screen). 

3. From the main screen, change to channel 2 and select another preset. 

4. The Trigger Keys now play BEATS and the other keys play the preset on 

channel 2 

Want more? 

5. On channel 2, select a preset with the arp: prefix. 

6. Set the arpeggiator to P (A:P) on the main screen (channel 2). 

7. Now you can play BEATS and arpeggiate. Yeow! 



Mo'Phatt Operation Manual 21 



Setup 
Instant Gratification 



Exploring the Master 
Arpeggiator 



\ 



Try using the control 
knobs to change the arpeggiator 
parameters. 



Mo'Phatt's multi-channel Pattern Generator/ Arpeggiator is one of the 
greatest features ever put in a synth. Let's explore the Master Arpeggiator. 

► To Arpeggiate a Single Preset: 



1. 



2. 



Select a preset. Note that the factory presets all have prefixes which 
describe the type of sound. For this investigation it might be best to 
choose a preset with the prefix "arp," for arpeggiator. These presets are 
optimized for use with the arpeggiator. 

Set the Arp parameter in the main screen to "M" for Master 
Arpeggiator. 



7. 



8. 



C01 
123 3 



V127 POIr R:M 
arp: OrbisTabulal 



PHRTT 



3. Press the Arp/Beats menu button on the front panel to access the 
master Arpeggiator menu, then use the Data Entry Control to scroll to 
the screen shown below. 



MR5TER RRPEGGIRTOR 
Status 



on 



4. Make sure the arpeggiator Status is "on." Play the keyboard to start 
arpeggiating. 

5. Press either cursor key repeatedly to move the cursor below the Status 
field. 

6. Turn the Data Entry Control clockwise one click. The Mode screen 
appears. 




Use the cursor keys to move the cursor to the Mode field (up, down, up/ 
down, forw asgn, backw asgn, forw/backw, random, pattern). Try out 
the different modes as you play the keyboard. 

Move the cursor back to the lower left position and explore the other 
parameters. The Note Value parameter changes the rate of the arpeggios. 
By the way, note value is a divisor based on the Master Clock Tempo. 
Try changing the tempo (page 36), but come right back. 



22 E-MU Systems 



Setup 
Instant Gratification 



X 



See the Arpeggiator 
Chapter for detailed information 
on creating Patterns. 



Multi-Channel 
Arpeggiator 



9. Let's check out the pattern generator. Go back to the Mode screen and 
set the mode to "Pattern". 

10. Now advance to the Pattern screen (shown below) and move the cursor 
to the Pattern Number field (the second field from the left). 



MR5TER RRPEGGIRTOR 
Pattern 38° Inversions 



11. Try the various patterns. There are 200 permanent factory patterns and 
100 user locations to store the patterns you create. Each pattern can 
have up to 32 notes. 



Mo'Phatt can run up to 16 arpeggiators at once! Even two or three patterns 
at once can create a complex groove or a dynamic landscape of sound. Even 
if you don't think you like arpeggiators, you owe it to yourself to give these 
a try. They're a great source of new song ideas. 

Here's one way to access this ultra-powerful feature. There is one arpeg- 
giator for each MIDI channel. In order to arpeggiate on multiple channels, 
you'll need a controller that can output multiple MIDI channels at once. 




E £ 



}m ggfggg (IgliriSl) <§>HS 



J nQnnQn oooooo o oQeoeaoooe o 



Master Keyboard transmitting on 
MIDI channels 1, 2, 3 

Connect a multi-channel controller to Mo'Phatt to unleash its true potential! 



Mo'Phatt Operation Manual 23 



Setup 
Instant Gratification 



^ 



Don't forget that you 
can adjust the volume and pan 
position for each channel. 
Sometimes a simple volume 
change will bring out hidden 
rhythms and patterns. 



1. Set up your MIDI keyboard so that it outputs the entire keyboard range 
on MIDI channels 1, 2, and 3. This procedure varies with the type of 
keyboard you own. 

2. Put Mo'Phatt into Multi mode. This is located on the MIDI Mode page 
in the Master menu. 

3. From the main screen, turn the arpeggiator "on" for MIDI channels 1 
and 2. (We're only using two for now to keep it simple.) Select a 
different preset for each MIDI channel while you're at it. 



6. 



7. 



C01 V127 POIr R:on 
026 3 arp:Hollographik 



PHRTT 



Start playing. You should be hearing two arpeggiators playing at once. 

Change presets on one or both of the MIDI channels you are using 
(1 & 2). Since each factory preset has differently programmed arpeg- 
giator settings, changing the preset not only changes the sound, but the 
arpeggiator as well. 

Press the Control Select button on the front panel so that the "Arp/ 
Beats" LED is illuminated. Adjust the front panel control knobs. 
Remember that the knobs are controlling the arpeggiator on the 
channel displayed in the main screen. 

Try changing one of the channel's arpeggiator setting to "M" instead of 
"on." Now press the Arpeggiator menu button on the front panel and 
adjust the arpeggiator parameters in real-time. 

From the Master Arpeggiator menu, set the Mode to "Pattern" then 
explore the different patterns. There are 200 patterns available! 



MRSTER RRPEGGIRTOR 
Pattern 99 1 Pattern Name 



Now you're starting to get the picture of how versatile and easy to use 
Mo'Phatt really is. 



24 E-MU Systems 



Basic Operations 



Basic Operations 
Front Panel 



Control 
Button 



Volume 
Control 

/ 



Master 
Menu 



Cursor 
Controls 



Power 
Switch 




Headphone 
Jack 



Display 



Realtime 
Control Knobs 



Audition 
Button 



Arp/Beats 
Button 



Save/ Home/ 
Copy Enter 



Data 
Entry 



Front Panel 



Volume Control 



Master Button 



Edit Button 



Control Button 



The Mo'Phatt front panel contains an LCD screen, nine buttons and four 
real-time controllers. Functions are grouped logically and the controls are 
arranged for ease of use. Precisely because Mo'Phatt is so simple to use, you 
might be tempted to skip this section. If you just can't help yourself, at least 
read the Real-time Controller information beginning page 27. There are 
several "power user" features in the interface which make programming 
even easier and we wouldn't want you to miss them. 



This control is the master volume control for all audio outputs. The Volume 
Control does not affect any editing or user interface operations. 
For maximum dynamic range, turn this knob all the way up and control 
the volume from your mixer or amplifier. 



The Master menu contains parameters that affect the entire machine, not 
just certain presets. An illuminated LED to the right of the button indicates 
that you are in the Master menu. 



Use the Edit menu when you want to create or modify a preset. An illumi- 
nated LED to the right of the button indicates that you are in the Edit 
menu. 



The Control button is used to change the function of the Controller knobs 
(see the next section). Each time you press the Control button, the Control 
Mode toggles to select only one of the three Control Rows. The currently 
selected Control Row is indicated by one of the three LEDs to the right of 
the row's label. 



Mo'Phatt Operation Manual 25 



Basic Operations 
Front Panel 



Audition Button 



\ 



L.E.D. Beat Markers 

• The Audition LED flashes off 
quickly on each downbeat and 
flashes off for a longer period on 
the Riff Loop. 

• The Clock LED flashes to mark 
each quarter note. 



Left/Right Cursor 
Buttons 



Save/Copy Button 



Home/Enter Button 



The Audition button allows you to hear any preset without hooking up a 
MIDI keyboard. When the Audition button is pressed, the LED next to the 
button will illuminate and a short "Riff" (programmed as part of the preset) 
will play The Riff is latched on and plays continuously until the button is 
pressed again. Presets can be changed while Audition is latched on. See 
"Bank Select Commands" on page 110 for more information on selecting banks 
via MIDI. 

The top line of the display changes to show the MIDI Bank Select controller 
values needed to select the preset being auditioned. This handy feature lets 
you know the exact Bank and Preset number to enter into your sequencer. 



MSB 



LSB 



Preset # 



Bank MSB:013 LSB:3 
082 3 bts: Down Low 



PHRTT 



These buttons move the cursor to the next parameter on the display. (The 
cursor is a little flashing line underneath one of the parameters in the 
display.) Press either cursor button until the cursor is underneath the 
desired parameter. The cursor buttons have an auto-repeat feature which 
advances the cursor when the button is held continuously. 

The cursor can be moved bidirectionally using the Data Entry Control 
while either cursor select button is held down (for example, press and hold 
the right cursor button and turn the Data Entry Control). 



The Save/Copy button is used to save or copy presets and to copy data. 
Selected groups of parameters, such as Patchcord settings, can be copied 
between Presets and/or between Layers using this menu. 

The LED to the right of the button illuminates to indicate that you are in 
the Save/Copy menu. The LED also illuminates when any preset parameter 
has been changed in the Edit menu (or if the front panel knobs have been 
moved with Quick-Edit mode enabled). 



The Home/Enter button is dual purpose. In general, this button acts as the 
"Home" button. For example, when in an Edit menu, this button snaps the 
cursor to the page name field of the current screen. When viewing the 
Preset Select screen (we also call it the main screen), this button snaps the 
cursor to the preset number field. In these instances, the LED is not used. 

Some screens and parameter fields use this button as the "Enter" button. In 
these cases, the LED blinks to indicate that the module is waiting for your 
response to initiate the operation. 



26 E-MU Systems 



Basic Operations 
Front Panel Controller Modes 



Data Entry Control 



Front Panel 

Controller 

Modes 



Real-time Control 



The Data Entry Control is a stepped, variable control switch used to change 
parameter values. The wheel increments or decrements the current value 
one unit with each click. This control incorporates acceleration, which 
advances the value faster if the Data Entry Control is turned quickly. 



The Real-time Controller Knobs serve three purposes: 

1 . Real-time control of synthesizer parameters 

2. "Quick Editing" the initial settings of the real-time controllers 

3. "Deep Editing" the parameters 

This section describes each of the three uses. 

The Real-time controller knobs provide direct control of the Mo'Phatt's 
synthesizer parameters. They are always active when on the Preset Select 
(main) screen. They can optionally be used to transmit MIDI controller 
messages to other MIDI devices. 

The Control button (left of the knobs) changes the function of the real-time 
controller knobs. Each time the button is pressed, the Control Mode toggles 
to select one of the three Control Row groups. The currently selected 
Control Row is indicated by the illuminated LED to the right of the button. 
The control knob functions are determined by the selected Control Row. 

The three Control Rows generate MIDI data that can control the preset on 
the current MIDI channel (the channel showing on the Preset and main 
screen. The labels (Filter Cutoff, Filter Res, Shape, Image, etc.) printed on 
these rows show how the factory ROM presets may be programmed to 
respond. (The controls might not conform to the front panel labels depending on 
the preset.) You can change the way a preset responds to MIDI A-L messages 
from the Edit menu (Patchcords). 

There is an LED next to each of the control knobs which illuminates to 
indicate that the knob setting has been changed from the value 
programmed in the preset (when Quick Edit mode is enabled). If the knob 
position is returned to the original setting, the LED is extinguished. 

If the "Knobs MIDI Out" parameter in the Master menu (see "Knobs/Riff 
MIDI Out" on page 78) is set to "transmit," the system sends a MIDI 
controller message when you turn off the Control knob. The MIDI 
controller message is sent on the current MIDI channel (also called the 
basic channel) using the controller number assigned in the Master menu 
(see "Real-time Controller Assignment" on page 75). 

The knobs only generate a message when you move a knob to a new value. 
The current value jumps to the new value. 



Mo'Phatt Operation Manual 27 



Basic Operations 
Front Panel Controller Modes 



Quick Edit 



&6 

Quick-Edit mode must 
be enabled in the Master menu. 



Deep Edit Mode 



This mode uses the Controller knobs to "Quick-Edit" the currently selected 
preset without having to enter the Preset Edit menu. This mode is only 
active when on the Preset Select screen and when "Quick-Edit" is enabled in 
the Master menu (see "Knob Preset Quick-Edit" on page 77). 

Initial controller values can be stored in every preset. When you move a 
knob with Quick-Edit enabled, the Initial Controller Value is updated with 
the knob's new value. The knob's LED lights indicating that the preset value 
has been changed. The three Control Rows' MIDI A-L values are stored in 
the corresponding Initial Controller Amount parameter in the Edit menu (see 
"Initial Controller Amount" on page 152). The Save/Copy button LED 
illuminates to remind you that the preset has been edited. "Quick-Edits" 
made to a preset are lost if you select another preset before saving them. 

► To Quick-Edit a Preset 

1 . Use the Control Knobs to change the sound of the current preset as 
desired. 

2. Press the Save/Copy button. The display reads, "Save Preset to." 

3. Press the right cursor button to select the bottom row. 

4. Optional: Select a new preset location if you don't want to overwrite 
the current preset, or if the current preset is a ROM preset. 

5. Press the Enter button to save the preset. 

When in the Master, or Edit menus, you can use the Controller Knobs to 
edit parameters. Using the Controller Knobs is a faster method for entering 
data, but the Data Entry Control offers finer precision. 

► To Enable Deep Edit Mode: 

1. Press the Master button and use the Data Entry Control to advance to 
the "Knobs Deep Edit" screen as shown in the following illustration. 



KNOBS DEEP EDIT 
disabled 



2. Press either Cursor key to move the cursor to the bottom line in the 
display. 

3. Use the Data Entry Control to change the value to "enabled." 

4. Press the Master menu button to exit the Master menu. 

When you enter any of the Edit menus: 

1 . The four Controller Knobs are used for editing. 

2. All the Controller LEDs are off. 

3. All the Control Row LEDS are off. 



28 E-MU Systems 



Basic Operations 
Front Panel Controller Modes 



When you turn a knob, the field value jumps to the current knob value. 
You can still use the Data Entry Control for editing by moving the cursor to 
the desired field. 




To move through menus horizontally use the Data Entry Control (the 
page's title field is the default cursor position). To move through menus 
vertically (preset layers), press the left cursor to get to the layer field, then 
change layers with the Data Entry Control. 

• Use the Data Entry Control to move through menus (horizontally) or 
layers (vertically). 

• Use the Controller Knobs to change parameter values within each page. 



Mo'Phatt Operation Manual 29 



Basic Operations 
Main Screen 



Main Screen 



MIDI Channel 
Selection 

>0 The channel number 
shown in the main screen is the 
"basic MIDI channel" when in 
Omni or Poly modes. 



Preset Selection 



Bank 


Contents 


tc 

LU 


- 

1 - 

2 - 

3 - 


128 RAM Presets 
128 RAM Presets 
128 RAM Presets 
128 RAM Presets 


2 
O 

ot 


- 

1 - 

2 - 

?? 


1 28 ROM Presets 
1 28 ROM Presets 
1 28 ROM Presets 

Depending on 
ROM sets installed 



The Preset Select screen is Mo'Phatt's default screen (also called the main 
screen) and is active when you have not selected any of the other button- 
activated menus. From this screen you can change or examine the Preset, 
Volume, Pan Position and Preset Location for each of the 16 MIDI 

channels. 

ROM or RAM Preset Location 



MIDI Channel 



Ne 



^ 



C01 V127 P01 R R:off 
079 3 bts: Nogognog 



USER 



1. 



2. 



To Change the MIDI Channel 

Press either cursor button until the cursor is underneath the channel 
number. (The cursor is the little flashing line underneath one of the 
parameters in the display.) 

Rotate the Data Entry Control to select a MIDI channel (01-16). As the 
channel number changes, the display changes to show the preset, 
volume, pan and preset location associated with the displayed channel. 



► To Change the Preset 

1. Press either cursor key until the cursor is underneath the preset number. 
(The cursor is a little flashing line underneath one of the parameters in 
the display.) As you rotate the Data Entry Control, the preset number 
and name changes. 

2. The displayed preset is assigned to the displayed MIDI channel. Presets 
are arranged into banks of 128, as shown in the diagram at left. 



Bank Number 




Using the screen above as an example, the superscripted number 2 in the 
second line of the display identifies the current bank number. 



30 E-MU Systems 



Basic Operations 
Main Screen 



Channel Volume 



Select banks independently of the of the preset number by locating the 
cursor on the Bank field and turning the Data Entry Control. 



MIDI BANK SELECT 




MSB 


LSB 






ccOO 


cc32 




USER 


00 


00 


BankO 


USER 


00 


01 


Bank 1 


USER 


00 


02 


Bank 2 


USER 


00 


03 


Bank 3 


PHATT 


13 


00 


BankO 


PHATT 


13 


01 


Bank 1 


PHATT 


13 


02 


Bank 2 


PHATT 


13 


03 


Bank 3 



This chart shows the MSB and LSB numbers needed to select preset banks over MIDI. 
Select a bank, then send the program change number. Without a bank select command, 
presets are selected from within the current bank. 



Channel Volume sets the volume of the selected MIDI channel in relation 
to the other channels. This is the same parameter as MIDI volume control 
#7, and changes made over MIDI are shown in the display. 



Volume 



± 



C01 
079 3 



V127 P01 R R:off 
bts: Nogognog 



USER 



► To Change the Channel Volume 

1. Press either cursor key until the cursor is underneath the volume value. 

2. Rotate the Data Entry Control to select a volume level. The Channel 
Volume range is 000-127. 



Mo'Phatt Operation Manual 31 



Basic Operations 
Main Screen 



Channel Pan 



Channel Arpeggiator 



Channel Pan sets the stereo position of the selected MIDI channel. This 
control operates like the balance control on your home stereo system. 
Channel Pan is the same parameter as MIDI pan controller #10, and 
changes made over MIDI are shown in the display. 



Pan Position 




Note: Pan settings in the preset ADD algebraically with the Channel Pan 
setting. Therefore, if the pan setting in the preset were set to "63r," moving 
the Channel Pan setting full left would return the sound to the center 
position. 



► To Change the Channel Pan 

1. Press either cursor key until the cursor is underneath the pan field. 

2. Rotate the Data Entry Control to select a pan value. 64l indicates a hard 
left pan, 63r indicates a hard right pan. With a setting of "00," the 
sound is centered in the stereo field. 



This function controls the arpeggiator for each MIDI channel. When the 
channel arpeggiator mode is set to Off, then there is no arpeggiation on 
that channel, regardless of what is set up in the Master Arpeggiator or 
preset. If the channel arpeggiator is On, the preset's arpeggiator is used, 
regardless of whether or not it is turned on in the Edit menu. This lets you 
turn on arpeggiation from the main screen. 

If the mode is set to "P" (for preset), the preset's arpeggiator settings and 
on/off status is used. If the mode is set to "M" (for master), the master 
arpeggiator settings and on/off status (located in the Arp/Beats menu) are 
used. See the " Arpeggiator /Beats Menu" on page 35 for more information. 

► To Play the Arpeggiator (Quick Start) 

1. From the main screen, press either cursor key repeatedly until the 
cursor is underneath the arpeggiator field (A:). 

2. Rotate the Data Entry Control to select "P" for preset. 

3. Press either cursor key repeatedly until the cursor is underneath the 
Preset Category field and select "arp:" using the data entry control. 

4. Press the right cursor button to move it to the Preset Name field. 

5. Play notes or chords on the keyboard. Change presets as desired to 
audition the various patterns and presets. 



32 E-MU Systems 



Basic Operations 
Sound Navigator 



Sound 
Navigator 

Preset Category 



Instrument Category 



Sound Navigator allows you to search through preset and instrument 
categories to find the type of sound you're looking for. Each preset and 
instrument has a name and a three letter preset category You can create 
your own categories in order to group favorite presets. The preset category 
is assigned in the Edit menu (Preset Name). Instrument categories are fixed. 

When you want to find presets in a particular category, you simply change 
the category field in the main screen, then move the cursor to the preset 
name field to scroll through all the presets in the selected category. 

When the cursor is on the Preset Category field, turning the Data Entry 
Control selects different preset categories. The Name Field will change to 
show the first preset in each category. 



C01 V127 POO R:off USER 
06M 1 bas: Basingie 



7* 



Preset Category 



^ 



Preset Name 



► To Change the Preset Category 

1. Press either cursor key repeatedly until the cursor is underneath the 
preset category field. 

2. Rotate the Data Entry Control to select one of the preset categories. 
Preset Categories are displayed in alphabetical order. 

► To Select a Preset within a Category 

1 . After selecting a category, move the cursor to the Preset Name field. 

2. Rotate the Data Entry Control to scroll through the presets in the 
selected category. Note that the preset numbers will no longer change 
sequentially. 



When the cursor is on the Instrument Category field (Edit menu), turning 
the Data Entry Control selects different instrument categories. The Name 
Field changes to show the first instrument in each category. Move the 
cursor back to the instrument name to choose other instruments in the 
selected category. 



L1 INSTRUMENT ROM:PHRTT 

06M 1 bas: Basingie 



Mo'Phatt Operation Manual 33 



Basic Operations 
Multitimbral Operation 



Multitimbral 
Operation 



v 



Save the Multisetup 
using the instructions provided 
in Chapter 9:Save/Copy 



Multitimbral operation means that Mo'Phatt can play more than one 
sound at the same time. Follow these instructions to access multiple presets 
on different MIDI channels simultaneously. 

► To Set Up Mo'Phatt for Multitimbral Operation 

1. Set the MIDI mode to "multi mode," using the MIDI mode function in 
the Master menu. 

2. Decide which MIDI channels you want the Mo'Phatt to receive (16 
channels can be used simultaneously). You can turn any unused 
channels OFF using the MIDI Enable function in the Master menu. 

3. Select the desired preset for each of the MIDI channels you want the 
Mo'Phatt to receive using the Main preset selection screen. (See "Main 
Screen" on page 30.) 

4. Mo'Phatt now responds multitimbrally on each of the MIDI channels 
you have specified. The volume and pan position parameters can be 
adjusted over MIDI (for each MIDI channel) or using the Cursor and 
Data Entry Control in the Preset Select screen. 



Channel 01 


Volume 


Pan 


Arp 




Channel 02 


Volume 


Pan 


Arp 




Channel 03 


Volume 


Pan 


Arp 



-> PRESET 



-> PRESET 



-> PRESET 






Channel 16 


Volume 


Pan 


Arp 



-> PRESET 



Each of the 1 6 MIDI channels can be assigned to play a specific Mo'Phatt preset. 



34 E-MU Systems 



Arpeggiator/Beats Menu 



s*> 



Arp/Beats and Master 
parameters are automatically 
saved to the current multisetup 
when you exit the menu, but 
you may wish to save to another 
location 



Arpeggiator/Beats Menu 



Mo'Phatt's SuperBEATS mode allows you to trigger, latch and unlatch 
synced loops and grooves from separate keys on your keyboard. Select a 
SuperBEATS Riff and then choose any one of Mo'Phatt's presets. Now by 
playing 24 assignable keyboard keys, you can bring specific Parts in and 
out. It's time to Groove! 

Mo'Phatt can also run up to 16 simultaneously synced arpeggiators, each 
with a different preset sound. The arpeggiators can either play one of 7 
arpeggios or can be set to play a pattern, which is a stored sequence of 
notes. Combined with SuperBEATS, the number of musical permutations is 
staggering! 

► To enable the Arpeggiator/Beats menu 

Press the Arp/Beats button, lighting the LED. The Arp/Beats screen displays 
the menu page most recently selected since powering up Mo'Phatt. The 
cursor appears below the first character of the screen heading on line one. 

► To select a new screen 

Press the Home/Enter button or press the Cursor button repeatedly until 
the cursor is below the screen title heading on the top line of the display. 
Rotate the Data Entry Control to select another screen. 

► To modify a parameter 

Press either Cursor button repeatedly (or hold down the right cursor button 
while turning the Data Entry Control) until the cursor is below the desired 
parameter value. Rotate the Data Entry Control to change the value. 

► To access a submenu 

The Beats Trigger Layout and the Master Arpeggiator screens have 
submenus which are accessed by pressing the cursor buttons to move the 
cursor to the lower left corner of the display. Select the submenu function 
using the Data Entry Control. 

► To save Arpeggiator/BEATS parameters 

Press the Save/Copy button and scroll to "Save Setup". Select a Setup 
number and press Enter. See "Saving Multisetups" on page 190. 

► To return to the main screen 

Press the Arp/Beats button, turning off the LED. 



Mo'Phatt Operation Manual 35 



Arpeggiator/Beats Menu 
SuperBEATS 



Base Tempo 
(Master Clock) 



<5>& 

To control Riffs using 
MIDI clock, be sure to set Riff 
Tempo (page 4 7) to "use 
current tempo". 



SuperBEATS 



Mo'Phatt contains an internal Master Clock. The Master Clock controls 
SuperBEATS, arpeggiators, synchronizes the LFOs when in tempo-based 
mode, controls the times of tempo-based envelopes, and can be used as a 
modulation source in the Patchcords section. There are two tempo values 
shown in the display. 

• Base Tempo - This is the base tempo setting before being modified by 
the Tempo Controller (if engaged). See "Tempo Controller" on page 77. 

• Current Tempo - This is the actual tempo. The current tempo is equal to 
the base tempo modulated by the MIDI controller specified in the Tempo 
Controller screen. If no MIDI Tempo controller message has been 
received since the last Base Tempo change, the Current Tempo will be 
equal to the Base Tempo. 

The LED to the right of the button blinks at the current tempo rate. 

► To Change the Base Tempo 

1 . Move the cursor to the lower line of the display. 

2. Adjust the Base Tempo using the Data Entry Control. 



BRSE TEMPO TRP -> enter 

120 bpm (current: 182) 



3. To Tap Tempo - Tap the Enter button at least three times when the 
cursor is on the top line of the display. Keep tapping to continuously 
update the tempo on each tap. The tap tempo range is 25-300 bpm. 

The Base Tempo values range from 1 through 300 beats per minute (BPM) 
or you can select "use MIDI" to use an external MIDI clock source. 



SuperBEATS is a 16-track play-only sequencer that is optimized for live 
performance and groove creation. Mo'Phatt contains dozens of special 16- 
part BEATS Riffs created by some of the best producers in the business. 
BEATS Riffs are normally used in conjunction with a "bts" preset 
containing the appropriate percussion mapping, but any preset can be 
selected and used. 



36 E-MU Systems 



Arpeggiator/Beats Menu 
SuperBEATS 



X 



L.E.D. Beat Markers 

• The Audition LED flashes off 
quickly on each downbeat and 
flashes off for a longer period on 
the Riff Loop. 

• The Clock LED flashes to mark 
each quarter note. 



&6 

^^ BEATS (BTS) Riffs are 
special 1 6-part riffs made 
especially for use with BEATS 
mode. A Riff without the BTS 
prefix only has Part 7 recorded. 



The BEATS channel is selected from the Beats enable screen in the Arp/Beats 
menu. 

Here's how it works. Each of the 16 parts is assigned to a keyboard key on 
the selected Trigger MIDI channel. Each part is brought in or out by 
pressing that key. Keys can also be Latched (press the key once to turn the part 
on, press it again to turn the part off). Other control keys allow you to Mute 
All Parts, Clear All Parts, and Start & Stop the groove. The 16 parts are 
arranged in the following manner: 



Main Groove 


Alt. Groove 


Perc / Fills 


Instr/Wild 


I.Kickl 


5. Kick2 


9. Perc3/Fill1 


13. Instl/Wildl 


2. Snarel 


6. Snare2 


10. Perc4/Fill2 


14. Inst2/Wild2 


3. Hihatl 


7. Hihat2 


11. Perc5/Fill3 


15. Inst3/Wild3 


4. Bass 


8. Perc2 


12. Perc6/Fill4 


16. Inst4/Wild4 



For each BEATS Riff, you have 2 Grooves, 4 Fills which correspond to the 
four parts of the Main and Alternate groove, and 4 Instrument parts. By 
adding and removing parts, you control the complexity of the groove. 

Each part can also be scaled by Key Velocity, allowing you to fade parts in 
and out (if velocity is routed to volume) as you play, or can be Transposed 
over a six octave range. 

Each part can be assigned to any one of four Groups, which allow multiple 
parts to be triggered from a single key. 

The chart below shows the default assignment of each Part, the 4 Groups 
and the Control Keys (shown in bold). These assignments can be modified 
to suit your personal preference. 



Mo'Phatt Operation Manual 37 



Arpeggiator/Beats Menu 
SuperBEATS 



^> 



Trigger layouts are saved 
with the Multisetup. See 
"Trigger Layouts" on page 2 1 6 
to examine several other factory 
BEATS trigger layouts. 



\ 



Starting BEATS mode 
with the Start/Stop key allows 
you to start the sequencer 
rolling silently. Then you can 
bring Parts in and out using the 
"Busy" control. 



^ If Mute is set to 1 -bar, 
the Part mutes for 7 bar then 
un-mutes. 



\ 



Start/Stop doesn 't clear 
latched parts when it stops the 
sequencer. Any trigger played 
after stopping will not only start 
the sequencer and play that 
trigger's part, but also play all 
previously latched parts. 



Default Assignment 
of BEAT Triggers 




2 

/Fill 1 
/Fill 3 


Wild 2 
Comb< 


Q_ 
O 




Snare 
Perc 1 


HiHat 
Perc 3 
Perc 5 


Inst 2/ 
Inst 4/ 


Group 
Start/ 
Mute 



Main Groove 



Alt. Groove 



ll ill ll ill 

II III II III 



a 



D1 



El 



F1 



CI 



A1 



B1 



C2 



D2 



E2 



F2 



G2 



A2 



B2 



i-i-fsifNMM^-r- £ *— CN -^- £ ^ 



rs 



U) 



Start/Stop Trigger 



• Clear Parts 



Mute 



Trig Hold 



_*£-£_iS cu 0= = T3 TO Q.Q.Q. 

.y 5 .y je fc iz iz = £Q = = = 

*ip* c£^;s£^e o o _ 
£££" S 



Starts the beat sequencer from the beginning of 
the sequence. When latched, pressing once starts 
and pressing again stops. When unlatched, the 
sequence runs as long as the key is held. 
Once the BEATS sequencer is started, it continues 
to run even if no triggers are active. 

Clears any enabled parts. This control provides a 
quick and easy way to shut off all latched Parts. 
Latch mode has no effect on this key. 

Mutes all Parts while held, but the Beats sequencer 
continues running. 

When this key is held, all other Trigger Keys 
behave as if they were in Latch mode. 



The BEATS sequencer plays as long as any BEATS triggers are active. BEATS 
Riffs can also be Restarted using a MIDI Song Start command even if the 
BEATS channel is not currently selected. The Audition LED illuminates 
whenever the BEATS sequencer is running (even if no Parts are playing). 

Pressing the Audition button or starting a Demo causes the Beats sequencer 
to stop. Pressing the Audition button plays Parts 1-4 & 16 on "bts:" presets. 

All Arp/BEATS parameters are saved with the Multisetup. (See 
"Restoring Multisetups" on page 189 for more information.) 



38 E-MU Systems 



Arpeggiator/Beats Menu 
SuperBEATS 



BEATS Mode 



% 



The Basic Channel is the 
MIDI channel currently 
displayed in the Main Screen. 



This screen turns BEATS mode on and has several other features which 
allow flexible control over BEATS mode. There are several status modes that 
determine when BEATS will be turned on and which Riff will be used. 

BEATS and BEAT Triggers can be set to different MIDI channels. This allows 
you to perform on two MIDI channels at once with a keyboard that only 
transmits on a single MIDI channel. 



BERTS MODE 
BtsCh: Basic 



Status: P 
TrigCh:Basic 



Status 

• Off BEATS mode off. 

• On BEATS mode on. The Riff assigned in the preset is used. 

• P BEATS mode is turned on ONLY if the Riff assigned in the 

preset is a "BTS" riff. The Riff assigned in the preset is used. 
(Default setting) 

• M BEATS mode on. The Master Riff is used (Arp/Beats menu). 



BERTS MODE 
BtsCh: Basic 



Status: P 
TrigCh:Basic 



Beats Channel (BtsCh) 

• 01-16 Selects the MIDI channel on which BEATS play. 

• Basic BEATS play on the MIDI channel displayed in the Main Screen. 

Trigger Channel (TrigCh) 

• 01-16 Selects the MIDI channel on which Trigger Keys will be active. 

• Basic Sets the Trigger Keys to the MIDI channel displayed on the 

Main Screen. 



Mo'Phatt Operation Manual 39 



Arpeggiator/Beats Menu 
SuperBEATS 



► To Play BEATS (Quick Start) 

1. Select any preset with the bts: prefix. 

2. Play the keyboard keys from CI to B2. 

3. Refer to the "Default Assignment" diagram on page 37 and try out each 
of the keys. 

4. Try out the Wild 1-4 knobs and other "bts:" presets. Now check out the 
other cool BEATS controls explained in this chapter! 

• If BEATS are not playing: Locate the screen at the top of this page in 
the Arp/Beats menu and set the parameters exactly as shown. 



► To Play BEATS on a different MIDI channel 

This is just an example of how you might use this feature. 

1. Set your MIDI keyboard to transmit on channel 2. 

2. Set the Status to P. 

3. Set the Beats Channel to 01. 

4. Set the Trigger Channel to Basic. 

5. Select any "bts:" preset on channel 1 (main screen). 

6. From the main screen, change to channel 2 and select another preset. 

7. The Trigger Keys now play BEATS and the other keys play the preset on 
channel 2. 



40 E-MU Systems 



Arpeggiator/Beats Menu 
SuperBEATS 



BEATS Controllers 



BEATS can be controlled using the front panel real-time controllers or 
external MIDI continuous controllers. Controllers are patched to BEATS 
via the Preset Patchcords located in the Edit menu. The following Preset 
Patchcord destinations control BEATS. 

Beat Velocity Croup 1-4 (BtsVelCI -> BtsVelG4) 

Parts assigned to one of the four BEATS groups can have their velocity 
scaled by the controller input. Since most "bts" presets have velocity 
controlling volume, this control can be used to mix the relative levels of 
the Groups. 

Beats velocity works as a percent addition. An input value of (or no Cord) 
means change the velocity by 0%. A full scale modulation setting of 100% 
in the Patchcord adds 100% to the velocity value 100% + 100% = 200%. A 
Patchcord setting of -100% subtracts 100% from the velocity (making it 0). 
Beat velocity scalings are reset with a preset change. 

Beat Xpose Group 1-4 (BtsXpsGI -> BtsXpsG4) 

Parts assigned to one of the four BEATS groups are transposed by the 
controller input. Transpose works by shifting the keyboard position and 
not by changing the tuning of individual notes. Therefore, on a BEATS 
presets (bts), where different instruments are assigned to each key, 
Transpose has the effect of changing the instrument used by a particular 
part. This control ADDS to the Part Transpose set in the Beats Transpose 
screen (page 45). Beat transpose offsets are reset with a preset change. 



Original 
Parts 



Transposed 
+12 







III 




































111 



Kick 



i i 

U 






On 



Jt CL> 01 c 
u b t c 



E2 
§E 



E E 

O aj 

On 5 
IS 



Es 
o >> 



%2 
-I 



TO TO 

E E, 






J ill 
Crowd 



>n V 

: J= -g 

|S OS' 

L CL 



; m 



-J Ol 

o 

< 



T3 T3 JJ Ol 

5 5.1 n 



Beat Busy (BtsBusy) 

This destination determines which parts are enabled. Beat Busy will accept 
either positive or negative values. 

• Positive values Add parts to whatever parts are triggered 

• Negative values Remove parts that are triggered. 



Mo'Phatt Operation Manual 41 



Arpeggiator/Beats Menu 
SuperBEATS 



V 



A Patchcord amount of 
50% is enough to drive Beat 
Busy to the maximum setting. 

Bidirectional Mod Wheel: 

Set Mod Wheel to BtsBusy with 
a Cord amount of + 1 00, then 
add a DC bias to BtsBusy with a 
Cord amount of -50. Wheel now 
adds or subtracts "Busyness". 



X 



Cool Tip! Connecting 
Key Pressure to Beat Busy at 
50% increases BEAT complexity 
the harder you press. 



Suppose the pitch wheel (which can output both positive and negative values) 
were connected to Beat Busy and four Key Triggers are down. As the pitch 
wheel is moved from center to fully up, the remaining parts will be enabled 
until the pitch wheel is fully up and all parts are playing. Moving the pitch 
wheel from center to fully down, the four triggered parts are sequentially 
removed until at the most negative position of the wheel, no parts are 
playing. 

The Busy control acts on the BEATS condition whenever the control is 
changed. Playing more triggers without changing the Busy control simply 
adds them until the Busy control is changed again, at which point it will 
possibly add or subtract parts as needed. 

The interaction between the Busy control, Triggers, Part Velocity and Group 
Velocity can get complicated, but works according to this rule: 

WHICHEVER CONTROL WAS LAST CHANGED TAKES OVER 

When interacting with the Group Velocity scale control, the Busy control 
ignores group velocity even when it is set to zero, enabling and disabling 
parts as necessary. If the Group Velocity is changed after the Busy control, it 
takes control, scaling parts as it deems necessary. 

The Busy control does take the Part velocity into account when adding and 
subtracting parts. If a part has a velocity of 0%, it is removed from the list of 
parts that the Busy control adds or subtracts. Therefore, you can use the 
Part Velocity control to remove parts you don't want to hear. 



+ Brings in Parts 



m 



wt tt 




— Removes Parts 



Played 

Positive controller values bring in new Parts and negative controller values remove 
Parts that are latched or held. In this example, the Pitch Wheel is connected to 
Beat Busy since it outputs negative as well as positive values. 



Beat Variation (BtsVari) 

Beat Variation varies which Parts are brought in and out using the Beat 
Busy control. Increasing this control mixes up the order in which Parts are 
brought in and out, thus providing even more permutations to the BEAT. 



42 E-MU Systems 



Arpeggiator/Beats Menu 
SuperBEATS 



Beats Trigger Layout 



<5>& 

Save your Beats Trigger 
Layouts and all other Arp/BEATS 
parameters using the "Save 
Setup" function located in the 
Save/Copy menu. 



This screen assigns the BEATS triggers to keyboard notes on the BEATS 
channel. For each Part, Group and Control Key you can select the following 
options: 

• Key Selects which keyboard key triggers the Part 

• Latch The first key press turns the Part on, the next turns it off. 

• Unlatch The Part plays only while the key is held. 

• 1 -bar The Part plays for one bar then stops. 



BERTS TRIGGER LRYOUT 
Part 1 Key: CI unlatch 



1-Bar Trigger Option 

The 1-bar option requires a bit of explanation. When a trigger key is pressed 
before the last beat of the measure, the part will continue playing until the 
end of the measure. If the Trigger Key is pressed after the last beat of the 
measure, the part waits until the next measure before playing. Then it plays 
for the entire measure and stops. The time signature and the measure 
bounds are determined by the particular BEATS Riff you are playing. 



Trig Key 

pressed before 

the last beat 



Part continues 
to end of measure 
then stops. 









► 










1 


2 


3 


4 


1 


2 


3 


4 j 




Meas 


ure 1 






Measure 2 







Trig Key 

pressed 

here 


Part begins at 
next measure and 
plays entire measure 
















i 














1 


2 


3 


4 


1 


2 


3 


4 






Measure 1 


Measure 2 i 



Mo'Phatt Operation Manual 43 



Arpeggiator/Beats Menu 
SuperBEATS 



Beats Trigger Offset 



Beats Part Velocity 



This function slides the Beats Trigger keys (assigned in the previous screen) up 
and down the keyboard. This makes it easy to change the keyboard location 
of the trigger keys without having to re-assign each key A positive offset 
moves the group of triggers up the keyboard by the designated number of 
keys. Negative offsets move the trigger group lower on the keyboard. 



BERTS TRIGGER OFFSET 
+000 keys 



n 








n 



Trigger 
Keys 

Beats Trigger Offset slides the entire group of beats triggers up or down the keyboard. 



Each note of a BEATS Riff can have its recorded velocity scaled by a value 
(from to 120%) of the recorded velocity or the actual played velocity of 
the trigger key can be used (trigger vel). For example, if a note's velocity is 
80, scaling by 110% will increase the note's velocity to 88. This feature 
allows you to control the mix of the different parts in advance or "on-the- 
fly" as you play. If a part's velocity is set to 0%, that part will be removed 
from the mix. 

Select Part 



fc 



BERTS PRRT VELOCITY 
Scaled by: trigger vel 



► To Set the Velocity for each Part 

1. Press the left cursor button to move the cursor under the Part field. 

2. Select the Part number using the Data Entry Control. Parts 1-16 can be 
selected. (All parts, shown as an "A", can he edited at once if "Edit All 
Layers" is enabled in the Master menu.) 

Move the cursor to the bottom line using the cursor keys and adjust the 
Velocity Scaling percentage using the Data Entry Control. 

Repeat steps 1 through 3 for all the Parts you wish to adjust. 

Press the Enter/Home button or use the cursor keys to move the cursor 
back to the screen heading. 



3. 

4. 
5. 



44 E-MU Systems 



Arpeggiator/Beats Menu 
SuperBEATS 



Beats Part Transpose 



Each Part of a BEAT Riff can be transposed up to 36 semitones up or down. 
Transpose works by shifting the keyboard position and not by changing the 
tuning of individual notes. Therefore, on a BEATS preset (bts:), where 
different instruments are assigned to each key Transpose has the effect of 
changing the instrument used by a particular part. On a preset where a 
single sound covers the entire keyboard, Transpose will actually transpose 
the sound. 



Select Part 



h 



BERTS PRRT TRRN5P05E 
+00 semitones 



► To set the Transposition for each Part 

1. Press the left cursor button to move the cursor under the Part field. 

Select the Part number using the Data Entry Control. Parts 1-16 can be 
selected. (All parts, shown as an "A", can be edited at once if "Edit All 
Layers" is enabled in the Master menu.) 

Move the cursor to the bottom line using the cursor keys and adjust the 
Transposition in semitones using the Data Entry Control. 

Repeat steps 1 through 3 for all the Parts you wish to adjust. 

Press the Enter/Home button or use the cursor keys to move the cursor 
back to the screen heading. 



Original Transposed 
Part +12 



2. 

3. 

4. 
5. 



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Mo'Phatt Operation Manual 45 



Arpeggiator/Beats Menu 
SuperBEATS 



Beats Part Group 



&6 

All Parts assigned to a 
Croup will stop playing when 
the Croup key is triggered, then 
untriggered even if the 
individual Parts in the Croup are 
latched. 



Master Riff 



This screen is where you assign Parts to one of the four Groups. By 
grouping, you can play multiple parts with a single key A part can be in 
one and only one group, or in no groups. 

Select Part 



PI 



BERTS PRRT GROUP 



Group: 



► To Assign a Part to a Croup 

1. Press the left cursor button to move the cursor under the Part field. 

2. Select the Part number using the Data Entry Control. Parts 1-16 can be 
selected. (All parts, shown as an "A", can be edited at once if "Edit All 
Layers" is enabled in the Master menu.) 

3. Move the cursor to the bottom line using the cursor keys and select the 
Group (1-4 or none) using the Data Entry Control. 

4. Repeat steps 1 through 3 for all the Parts you wish to assign. 

5. Press the Enter/Home button or use the cursor keys to move the cursor 
back to the screen heading. 



The Master Riff is selected from this screen. The Master Riff is used when 
Master (M) is selected for BEATS in Beats mode enable screen. 



MR5TER RIFF 
Plays: TranzRmbient 1 



PHRTT 



2. 



► To Assign the Master Riff 

1. Use the cursor buttons to move the cursor to the lower line of the 
display. 

Select the desired Riff using the Data Entry Control. (BEATS Riffs are 
identified by the BTS prefix.) 

If there is more than one ROM in Mo'Phatt you can select Riffs from 
either ROM set. Move the cursor under the ROM ID and select using the 
Data Entry Control. 

Press the Enter/Home button or use the cursor keys to move the cursor 
back to the screen heading. 



46 E-MU Systems 



Arpeggiator/Beats Menu 
SuperBEATS 



Riff Tempo 



Riff Controllers 



This setting determines whether Riff Tempo (the tempo stored with each 
Riff) or the Current Tempo (the Base Tempo from the Master Clock) will be 
used for BEATS. 

To control the Riff Tempo from MIDI clock, set Riff Tempo to "use current 
tempo" and Base Tempo to "use MIDI". 



RIFF TEMPO 
use riff tempo 



► To Set the Riff Tempo Mode 

1 . Use the cursor buttons to move the cursor to the lower line of the 
display. 

2. Select "use riff tempo" or "use current tempo" using the Data Entry 
Control. 

3. Press the Enter/Home button or use the cursor keys to move the cursor 
back to the screen heading. 



Riffs contain real-time control information. This function allows you to 
turn these controllers On or Off for the Riffs. This control affects Audition 
Riffs as well as BEATS Riffs. 



RIFF CONTROLLERS 
use riff controllers 



► To Turn Riff Controllers On or Off 

1. Use the cursor buttons to move the cursor to the lower line of the 
display. 

2. Select "use riff controllers" or "ignore riff controllers" using the Data 
Entry Control. 

3. Press the Enter/Home button or use the cursor keys to move the cursor 
back to the screen heading. 



Mo'Phatt Operation Manual 47 



Arpeggiator/Beats Menu 
SuperBEATS 



MIDI Song Start 



Arp/Riff 
MIDI Out 



This function enables or disables MIDI Song Start for the Arpeggiator and 
Riffs. The MIDI Song Start option restarts the arpeggiator and/or Riff (BEAT) 
to the beginning when a MIDI Song Start command is received. This is 
useful for synchronizing arpeggios and BEATS when recording into, or 
playing along with a sequencer. You can choose to resync: Arp, Riff, both 
Arp and Riff, or disable MIDI Song Start. 



MIDI SONG 5TRRT 
resyncs arps & riffs 



This parameter selects whether or not the Arpeggiator and/or Riff (BEATS) 
note data is sent to the MIDI out port. This feature lets you use Mo'Phatt as 
an arpeggiator or sequencer for your other MIDI instruments. It also lets 
you record the arpeggios and Riffs into a MIDI sequencer. You can choose 
to transmit: Arpeggiator data, Riff data, both Arp and Riff data, or nothing. 



RRP/RIFF MIDI OUT 
don't transmit 



48 E-MU Systems 



Arpeggiator/Beats Menu 
Arpeggiators 



Arpeggiators 



SAVE your Arp setups 

and name them using the "Save 
Setup" function located in the 
Save/Copy menu. See"Saving 
Multisetups" on page 190. 



An arpeggiator moves a pattern of notes sequentially over a range of the 
keyboard. Mo'Phatt has the unique ability to play a different arpeggiator on 
each MIDI channel! 

Arpeggiator settings can be denned as part of the preset (using the Arp 
parameters in the Edit menu), or globally in the Arpeggiator menu. The 
preset and master arpeggiators have the same parameters which we define 
in this chapter. 

The Arp field in the main screen defines which arpeggiator settings will be 
used. "M" uses the master Arpeggiator settings and on/off status (as denned 
in the Arpeggiator menu). "P" uses the preset's arpeggiator settings and on/ 
off status (as defined in the Edit menu). Choosing "On" uses the preset's 
arpeggiator settings regardless of whether or not it is turned on in the Edit 
menu and Off turns off the arpeggiator regardless of the settings and status 
specified in either menu. 



Arp Settinqs in the 
Preset are Used 


N 






w 


C01 V127 POO 
Um 3 arp: Sine Drum 


R:P 


USER 





All arpeggiators share Mo'Phatt's master clock and its current setting. The 
master clock can be Mo'Phatt's internal clock or an external MIDI clock. 
Although the arpeggiators use the master clock setting, the tempo divisor 
can be unique for each arpeggiator setup. 

Arpeggiator modes include up, up/down, forward assign, backward assign, 
forward/backward assign and random as well as play Patterns. Patterns are 
pre-recorded sequences of notes and rests. All key-on notes play the 
pattern. For example, if you play a chord, all the notes in the chord play the 
pattern in harmony. Mo'Phatt contains 200 factory patterns and 100 user 
definable patterns. 



Mo'Phatt Operation Manual 49 



Arpeggiator/Beats Menu 
Master Arpeggiator Parameters 



Arp Controllers 



Master 

Arpeggiator 

Parameters 



The Arpeggiators can be controlled using the front panel real-time 
controllers or external MIDI continuous controllers. Controllers are 
patched to Arps via the Preset Patchcords located in the Edit menu. See 
"Preset Patchcords" on page 151. The following Preset Patchcord destinations 
control the Arpeggiators. 

Arpeggiator Resolution (ArpRes) 

This control changes the Arpeggiator Note Value, which defines the length 
of the notes when playing arpeggiated chords. It adds to the note value set 
in the Arpeggiator Note Value screen. See "Note Value" on page 52. 

Arpeggiator Extension (ArpExt) 

This control changes the Arpeggiator Extension Count. It adds to the 
extension count programmed in the Arpeggiator Note Value screen. See 
"Extension Count" on page 54. 

Arpeggiator Velocity (ArpVel) 

This control changes the Arpeggiator Velocity Value. It scales the velocity 
value set in the Arpeggiator Note Value screen. See "Velocity" on page 53. 

Arpeggiator Gate (ArpGate) 

This control changes the Arpeggiator Gate Time. It adds to the gate time set 
in the Arpeggiator Gate Time screen. See "Gate Time" on page 53. 

Arpeggiator Interval (Arplntvl) 

This control modulates the Arpeggiator Extension Interval. It adds to the 
extension programmed in the Arpeggiator Extension Interval screen. See 
"Extension Interval" on page 54. 



The Master Arpeggiator is defined in the Arp/Beats menu. The Arpeggiator 
mode selected on the Main Screen determines whether the Master arpeg- 
giator or the Preset menu arpeggiator settings are used. 

► To Access the Master Arpeggiator Parameters 

1. Press the Arpeggiator menu button lighting the LED. The Arpeggiator 
menu screen displays the menu page most recently selected since 
powering up Mo'Phatt. The cursor appears below the first character of 
the screen heading on line one. 

2. Use the right cursor button to advance the cursor to the first field in the 
bottom line of the screen. 

3. Now, use the Data Entry Control to access the various Master 
Arpeggiator parameters. 

4. Save your Arpeggiator settings using the "Save Setup" function on the 
Save/Copy menu. 



50 E-MU Systems 



Arpeggiator/Beats Menu 
Master Arpeggiator Parameters 



Status 



The Status parameter turns the Master Arpeggiator on and off. The Channel 
Arpeggiator setting in the main screen overrides this setting. For example, if 
you set the Arpeggiator in the main screen to "off," and turn it "on" here, it 
still will not play. 



MR5TER RRPEGGIRTOR 
Status 



off 



Mode 



The Mode parameter determines the direction or pattern mode of the 
arpeggiated notes. 



MRSTER RRPEGGIRTOR 
Mode 



uo 



The eight arpeggiator modes are: 
• Up 



Held notes arpeggiate continuously from lowest to 
highest pitch. 

Held notes arpeggiate continuously from highest to 
lowest pitch. 

Held notes arpeggiate continuously from lowest to 
highest pitch, then from highest to lowest, then repeat 
this cycle. 

Held notes arpeggiate continuously in the order in 
which the keys were pressed. 

Bkwd Assign Held notes arpeggiate continuously in the reverse order 
in which the keys were pressed. 



• Down 



• Up/Down 



Fwd Assign 



Fwd/Bkwd 



Random 



• Pattern 



Held notes arpeggiate continuously in the order in 
which the keys were pressed, then arpeggiate in the 
reverse order that they were pressed. The cycle is then 
repeated. 

Held notes arpeggiate continuously in a random 
fashion. 

Held notes play the selected pattern (see "Pattern" on 
page 52 for details). 



Mo'Phatt Operation Manual 51 



Arpeggiator/Beats Menu 
Master Arpeggiator Parameters 



Note Value 



>0 Note value has no effect 
when the mode is set to 
"pattern, " 



Arpeggiator Pattern 
Speed 

Pattern 



The Note Value determines the duration of each note played. This 
parameter is used in non-pattern mode only. 



MR5TER RRPEGGIRTOR 
Note Value 



1/8 dot 



Following is a list of possible Note Values and the relative number of clocks 
used for each. 

Note Value MIDI Clock 

Double Whole Note 192 

Dotted Whole Note 144 

Double Note Triplet 128 

Whole Note 96 

Dotted Half Note 72 

Whole Note Triplet 64 

Half Note 48 

Dotted Quarter Note 36 

Half Note Triplet 32 

Quarter Note 24 

Dotted Eighth Note 18 

Quarter Note Triplet 16 

8th Note 12 

Dotted 16th Note 9 

8th Note Triplet 8 

16th Note 6 

Dotted 32nd Note 4.5 

16th Note Triplet 4 

32nd Note 3 



The Arpeggiator Pattern Speed parameter lets you change the playback rate 
of Patterns by l/4x, l/2x, lx (normal), 2x or 4x normal speed. 



This field lets you choose the pattern used when the arpeggiator Mode is set 
to "Pattern." There are 200 factory programmed patterns and you can 
create an additional 100 user definable patterns (see "Editing a User Arpeg- 
giator Pattern" on page 59). 



MRSTER RRPEGGIRTOR 
Pattern 99 1 Pattern Name 



52 E-MU Systems 



Arpeggiator/Beats Menu 
Master Arpeggiator Parameters 



Velocity 



Gate Time 



>0 The note-on time is used 
for the start-of-time when 
calculating note durations. See 
"Duration" on page 56. 



The Velocity parameter determines the velocity at which each note arpeg- 
giates. Velocity can be denned by the velocity value specified (from 1 
through 127), or by the actual velocity of the played note (played). Bear in 
mind that velocity values do not have an effect on the sound unless the 
preset is programmed to respond to velocity 



MR5TER RRPEGGIRTOR 
Velocity 



played 



The Gate Time parameter works together with the Note Value parameter. 
Just as Note Value defines the length of a note, the Gate Time sets the 
percentage of the Note Value time played. This can have a dramatic effect 
on the sound depending on how the envelope generators are programmed. 



MR5TER RRPEGGIRTOR 
Gate 



100% 



With a Gate Time setting of 100% the note is held on until the next note 
starts. The envelope generators never advance to the Release stages. With a 
Gate Time setting of 50%, the note is released halfway through the note 
cycle and the envelope generators proceed to their release stages until the 
next note occurs. Refer to the following illustration. 

Selected Note Value (8th notes, 1 6th notes, etc.) 



Gate 
Time 

100% 



75% 



50% 



25% 















key-on 
time 








key-on 
time 










key-on 
time 





















Mo'Phatt Operation Manual 53 



Arpeggiator/Beats Menu 
Master Arpeggiator Parameters 



Extension Count 



Extension Interval 



The Extension Count parameter specifies how many times the Extension 
Interval is carried out. With an Extension Count of 0, the arpeggio plays 
only the notes pressed. With an Extension Count of 1, the arpeggio plays 
the notes pressed, then plays the same notes (in the same order), trans- 
posed by the Extension Interval amount. The cycle is then repeated. 



MR5TER RRPEGGIRTOR 
Extension Count 



For example, with the Extension Interval set to 12 (an octave) and an 
Extension Count of 2, and with the Arpeggiator Mode set to Fwd Assign, if 
you played E2, then C2, then G2, the arpeggiated sequence would consist 
of: E2, C2, G2, then E3, C3, G3, and then E4, C4, G4. The Extension Count 
values range from through 15. Refer to the following illustration. 



Back 









2TT1 


Ml 


5 i i 4 


Ml 


8\\7 


Ml 










Extend 1 Extend 2 



The Extension Interval specifies the additional intervals played when you 
press a key. For example, suppose you played C2 with an Interval of 7 (a 
Major 5th), Up mode, and an Extension Count of 2. The arpeggio alternates 
between C2 and G2. 

The Extension Interval values range from 1 through 16. 



MRSTER RRPEGGIRTOR 
Extension Interval 



54 E-MU Systems 



Arpeggiator/Beats Menu 
Master Arpeggiator Parameters 



Sync 



The Sync parameter defines when a note is played in relation to when the 
key is pressed. When set to "Key Sync", the note sounds the instant a key is 
pressed. When set to "Quantized", the note does not sound until the next 
occurrence of the selected note value. 



MR5TER RRPEGGIRTOR 

Sync key sync 



The following diagram illustrates how Key Sync and Quantize work. 



Key 
Pressed 



Key Sync 



Quantize 



Note Sounds 
Immediately 



Quarter Notes 

Note Doesn't Sound until 
the Next Quarter Note 



Quarter Notes 



Pre- Delay 



The Pre-Delay value determines how long the arpeggiator is delayed before 
becoming active after the first "note-on." During the pre-delay period, 
notes are played normally (as if the arpeggiator was off). After the pre-delay 
period has elapsed, the arpeggiator kicks in. Once you release all the keys 
on the controller, the pre-delay starts over with the next note-on. In combi- 
nation with the Duration parameter, Pre-Delay lets you create many more 
variations in the arpeggio patterns. Please refer to the diagram on page 57. 

You can play the preset normally as long as you don't hold the notes longer 
than the Pre-Delay. If you do, the arpeggiator starts in. When used in 
conjunction with multiple arpeggiators or BEATS mode, Pre-Delay allows 
you to offset the time between the different patterns. 



MRSTER RRPEGGIRTOR 
Pre-Delay 



off 



Mo'Phatt Operation Manual 55 



Arpeggiator/Beats Menu 
Master Arpeggiator Parameters 



Duration 



Post- Delay 



This parameter defines how long the arpeggiator plays before stopping. The 
Duration is specified in note values. Therefore if an arpeggio were running 
at a 16th Note Value and the Duration were set to a whole note, the arpeg- 
giator would play 16 steps before stopping. After the duration has elapsed, 
the arpeggiator remains inactive until the key is released. If Duration is set 
to Off, the arpeggio repeats as long as the notes are held (Infinite Duration). 



MR5TER RRPEGGIRTOR 
Duration 



1/ld 



Duration can be used to modify the patterns and increase the possible 
pattern combinations and variations. Because this parameter limits the 
length of arpeggiator play time, it can change the arpeggio pattern when 
the Duration is less than the length of the arpeggio. You can set the 
arpeggio to repeat continuously using the Recycle function described below. 



This parameter is only relevant when both the "Duration" and "Recycle" 
parameters are not in the "Off" state. The Post-Delay value determines how 
long the arpeggiator is delayed after the Duration period. Please refer to the 
diagram on page 57. During the post-delay period, notes are played normally 
(as if the arpeggiator was off). After the post-delay period has elapsed, the 
arpeggiator either jumps to the beginning of the Pre-Delay period or to the 
beginning of the Duration period depending on the Recycle setting. 

If the arpeggiator is playing an extension when the Duration expires, the 
notes in the extension will continue to sound during the Post-Delay (and 
Pre-Delay if on). On the next pass through the Duration period, the 
extension continues where it left off. 

Post-Delay increases the number of possible variations in the beat and 
allows the recycle loop to be set to an exact measure of time. 



MR5TER RRPEGGIRTOR 
Post-Delay 



off 



56 E-MU Systems 



Arpeggiator/Beats Menu 
Master Arpeggiator Parameters 



Recycle 



Keyboard Thru 



Latch 



Keys 
Pressed 



I 



Notes Sound 
I h 



Arp Plays 



i Pre-Delay 



Notes Sound 

H 1 




Recycle enables the pattern or arpeggio to repeat. This parameter works 
together with the Duration and Pre/Post Delay parameters to allow the loop 
to be set to an exact measure of time. The "on/No-PreDelay" option 
bypasses the predelay period. With Recycle turned Off, the pattern or 
arpeggio stops at the end of the Post-Delay period. 



MRSTER RRPEGGIRTOR 

Recycle on/No-PreDly 



When enabled, Keyboard Thru merges the notes not arpeggiated with the 
notes being produced by the arpeggiator. This gives the effect of two parts 
playing at once. 



MRSTER RRPEGGIRTOR 
Keyboard Thru 



off 



With Latch mode On, any notes you play remain on until you press them 
again. Latched notes can also be halted by turning Latch off in this screen, 
or by turning off the Arpeggiator for the channel in the main screen. 



MRSTER RRPEGGIRTOR 
Latch 



on 



Mo'Phatt Operation Manual 57 



Arpeggiator/Beats Menu 

Send MIDI System Exclusive Data 



Key Range 



Send MIDI 
System 
Exclusive Data 



s*> 



Send data as you would 
a regular sequence. Sending 
data in one huge chunk may 
clog the MIDI input buffer on 
Mo'Phatt. 



Use the Key Range parameter to set the keyboard range for the arpeggiator. 
Notes inside the range will arpeggiate while notes outside the specified 
range will not arpeggiate. Use the Extensions parameters to exceed the 
upper boundary of the Key Range (see the information about Extensions 
beginning on page 54). 



MR5TER RRPEGGIRTOR 
Key Range 



C-2->G8 



Move the cursor under the first key and use the Data Entry Control to 
define the lowest key to be arpeggiated. Move the cursor under the second 
key value and use the Data Entry Control to define the highest key to be 
arpeggiated. 



Transmits the Arpeggiator Patterns via the MIDI out port as MIDI System 
Exclusive data to another Mo'Phatt or to a computer/sequencer for backup. 
Using the cursor key and the Data Entry Control, select the MIDI data you 
want to transmit. See Send MIDI System Exclusive Data in the Master chapter 
for additional details about recording SysEx. 

User Patterns 

Transmits all the User patterns. 

00° to 99° 

Transmits only the individual pattern you have selected. 



SEND MIDI SYSEX DRTR 
Rll User Rrp Patterns 



58 E-MU Systems 



Arpeggiator/Beats Menu 
Send MIDI System Exclusive Data 



Editing a User 
Arpeggiator Pattern 



Bank = User Patterns 
Bank 1 = Factory Patterns 
Bank 2 = Factory Patterns 



X 



Before editing a Pattern, 
select Master Arpeggiator (M) in 
the main screen and set the 
Arpeggiator to the Pattern you 
are editing. This lets you hear 
the Pattern as you edit it. 



Pattern Step 
Number 



Key 



Mo'Phatt lets you create and edit your own arpeggiator patterns. Using the 
Edit User Pattern menu, you can create up to 100 user patterns and each 
pattern can be up to 32 steps in length. 

When you edit a pattern, you are writing directly into memory — no Save 
command is required. This is different from the Edit menu where you must 
Save a preset before it will be overwritten. If you want to modify an existing 
pattern and keep the original, you must first COPY the pattern you want to 
edit to another location using the function in the Copy menu (See 
page 187). Refer to the instructions below and the following parameter 
descriptions to create your own patterns. 



EDIT USER PRTTERN 
01 1 DRUMnBRSS 1 



► To Select the Pattern to Edit 

1. From the Edit User Pattern screen shown above, move the cursor to the 
bottom line and select the pattern you want to edit. The Enter LED 
begins flashing. 

2. Press the Enter button to confirm that you want to edit the selected 
pattern. The "User Pattern Edit" page appears. 





PTRN 
501 


KEY 

+0 


VEL 

ply 


DUR 
1/8 


RPT 

2 

A 





Pattern Step 
number 



Key offset Velocity Duration 



Repeat 



You can set up to 32 steps for each arpeggiator pattern. This field selects 
which step you will be editing from 1 to 32. 



This parameter defines what happens during the current step. The Key 
parameter can do one of five different operations. Following is a description 
of each of the key functions and how to use them. 



Mo'Phatt Operation Manual 59 



Arpeggiator/Beats Menu 

Send MIDI System Exclusive Data 



^^ IMPORTANT: The Gate 
function in the arpeggiator 
MUST be set to 1 00% when 
using the tie function, otherwise 
the tied note is retriggered 
instead of extended. 



Key Offset 

This parameter defines not the actual note of the arpeggiator playback, but 
instead specifies the amount of offset, in semitones, from the original note 
played. You can set a Key Offset from -48 to +48 for each step. For example, 
if you play a "C" on the keyboard with the Key Offset amount for the first 
step set to "+1," the first step in the pattern will be "C#." 



-48 



-36 



-24 



-12 



l 




+12 



Offset 



t 

Played 
Note 



+24 



+ Offset 



+36 



+48 



Tie 

This function extends the duration of notes beyond the values given in the 
duration field by "tying" notes together. You can tie together any number 
of consecutive steps. 



J^J J 



+2 




tie 




-5 



Step 1 Step 2 Step 3 



Rest 

Instead of playing a note, you can define the step as a Rest. The Duration 
parameter specifies the length of the rest. Rests can be tied together to form 
longer rests. 

Skip 

This command simply removes the step from the pattern. The Skip feature 
makes it easy to remove an unwanted step without rearranging the entire 
pattern. You'll be happy to know that the velocity, duration and repeat 
parameters are remembered if you decide to put the step back later. 

End 

This command signals the end of the pattern. Any steps programmed after 
the step containing the End command are ignored. 



60 E-MU Systems 



Arpeggiator/Beats Menu 
Send MIDI System Exclusive Data 



Velocity 



Each note in the pattern plays using either a preset velocity value (from 
1 through 127), or using the actual velocity of the played note (ply). 

Note: Velocity values will not have an effect on the sound unless velocity is 
programmed to do something in the preset. 



Duration 



This parameter sets the length of time for the current step, denned as a note 
value, based on the Master Clock Tempo. The selectable note durations are 
described below. 



1/32 


32nd Note 


l/2t 


Half Note Triplet 


l/16t 


16th Note Triplet 


l/4d 


Dotted Quarter Note 


l/32d 


Dotted 32nd Note 


1/2 


Half Note 


1/16 


16th Note 


1/ld 


Dotted Whole Note 


l/8t 


8th Note Triplet 


1/lt 


Whole Note Triplet 


l/16d 


Dotted 16th Note 


l/2d 


Dotted Half Note 


1/8 


8th Note 


1/1 


Whole Note 


l/4t 


Quarter Note Triplet 


2/lt 


Double Whole Note 


l/8d 


Dotted Eighth Note 




Triplet 


1/4 


Quarter Note 


2/1 


Double Whole Note 



Repeat 



Each step can be played from 1 to 32 times. A repeat setting of "1" indicates 
the step will be played one time (not repeated one time or played twice). 



► To Edit a User Pattern 

1. The first field in the Edit User Pattern field defines the pattern's step 
number. Start with the pattern Step 01. 

2. Define the Key Offset, Velocity, Duration and Repeat values. 

3. Repeat steps 1 and 2 until you have setup the desired number of steps 
in the pattern. 

4. Set the Key Offset to "End" on the last step in the pattern. 



Mo'Phatt Operation Manual 61 



Arpeggiator/Beats Menu 

Send MIDI System Exclusive Data 



User Pattern Name 



The User Pattern Name page lets you enter a name for any User Arpeggiator 
Pattern. 




► To Name a User Pattern 

1. From the Pattern Edit screen shown above, position the cursor under 
the PTRN field. 

2. Turn the Data Entry Control clockwise. The following screen appears. 



USER PRTTERN NRME 
00° Mod Snow Peas 



3. Move the cursor to the bottom line and edit the Pattern name using the 
Data Entry Control and Cursor keys. 

4. Move the cursor to the "Home" position (shown above) by pressing the 
Home/Enter button, then turn the Data Entry Control counter- 
clockwise one click to return to the Pattern Edit screen. 

5. Turn the Data Entry Control counterclockwise multiple clicks to jump 
back to the main Arpeggiator menu screen. 



62 E-MU Systems 



Arpeggiator/Beats Menu 
Multi-Channel Arpeggiating 



Multi-Channel 
Arpeggiating 



One of the coolest features in Mo'Phatt is its ability to run multiple arpeg- 
giators at the same time. The interactions of multiple note sequences can be 
complex and fascinating. Mo'Phatt lets you run up to sixteen arpeggiator 
patterns at once! Even two or three patterns at once can create very 
complex sequences and dynamic landscapes of sound. 



^% # 



^ 



m 



W^ 



Arp on 
Chan 1 



Arp on 
Chan 2 



Arp on 
Chan 3 




MIDI Out 






MIDI In 



*K 



| ClJBcaaQ #■!§■§ O 



OO: -O-o 

□QClQaD ooooo 



o u a o o g -. a g ■-■■ q ■_■ 





Master Keyboard transmitting on 
MIDI channels 1, 2, 3 

Here's one way to use this ultra-powerful feature. There is one arpeggiator 
for each MIDI channel. In order to arpeggiate on multiple channels, you 
need a controller that can output multiple MIDI channels at once. 

1. Set up your MIDI keyboard so that it outputs the entire keyboard on 
MIDI channels 1 and 2. This procedure varies with the type of keyboard 
you own. Refer to the owner's manual that came with your keyboard 
for instructions. 



2. 



3. 



Put Mo'Phatt into Multi mode. This is located in the Master menu, 
MIDI Mode page. 

On the main screen, turn the arpeggiator "on" for MIDI channels 1 and 
2. (We're only using two channels for now to keep it simple.) Select a 
different preset for each MIDI channel while you're at it. 



C01 V127 POO R:on PHRTT 
Um 3 arp: Sine Drum 



4. Start playing. You should be hearing two arpeggiators playing at once. 



Mo'Phatt Operation Manual 63 



Arpeggiator/Beats Menu 

Using a MIDI Interface to Channelize Data 



Using a MIDI 
Interface to 
Channelize 
Data 



Try experimenting with presets and settings. For example: 

• Change presets on one or both of the MIDI channels you are using 
(1 & 2). Since each factory preset has different arpeggiator settings, 
changing the preset not only changes the sound, but the 
arpeggiator settings as well. 

• Press the Control button on the front panel to select "I-L" (the LED 
in the third row is illuminated). Adjust the front panel control 
knobs. These knobs usually control the arpeggiator on presets with 
the "arp:" prefix. 

• Try changing one of the channel's arpeggiator setting to "M" 
instead of "on." Now press the Arpeggiator Menu button and adjust 
the arpeggiator parameters in real time. 

• From the Master Arpeggiator menu, set the Mode to Pattern then 
explore the different patterns. There are 300 patterns available! 



MR5TER RRPEGGIRTOR 
Pattern 99 1 Pattern Name 



Now you're getting the picture. This machine is beyond awesome! 



Not all keyboards or controllers can transmit on multiple MIDI channels at 
once. If your MIDI controller only transmits on a single MIDI channel, 
there are other ways to use the multi-channel arpeggiators. A MIDI 
interface such as Mark of the Unicorn's MIDI Time Piece®, or a MIDI router 
box will convert data on one channel to any other channel or channels. 



Data on Channels 1, 2, 3 



PLANET PHATT 



n 



so 



B 



MIDI In 

> 


MIDI Interface 

MIDI Out 














\ 1 1 -- 


\ 






\ * * 




\ 






\ * * 












\ 


• 


• 










II 


I 




! 




I! 

















Older Keyboard which only 
transmits on MIDI Channel 1. 



Your MIDI Interface may be able to output MIDI data on multiple channels at once. 



64 E-MU Systems 



Master Menu 



&6 

Warning: Master Menu 
changes are automatically 
saved when you exit the menu. 
If the power is turned off before 
you exit the menu any changes 
you have made will be lost. 



The Master menu contains functions that affect the overall operation of 
Mo'Phatt. For example, changing the Master Tune parameter changes the 
tuning of all the presets, not just the one currently displayed. 

► To enable the Master menu 

Press the Master button, lighting the LED. The Master Menu screen displays 
the menu page most recently selected since powering up Mo'Phatt. The 
cursor appears below the first character of the screen heading on line one. 

► To select a new screen 

Press the Home/Enter button or press the Cursor button repeatedly until 
the cursor is below the screen title heading. Rotate the Data Entry Control 
to select another screen. 

► To modify a parameter 

Press either Cursor button repeatedly (or hold down the right cursor button 
while turning the Data Entry Control) until the cursor is below the desired 
parameter value. Rotate the Data Entry Control to change the value. 

► To return to the main screen 

Press the Master button, turning off the LED. 



Mo'Phatt Operation Manual 65 



Master Menu 
Defining Master Parameters 



Defining 

Master 

Parameters 

Transpose/Tune 



Bend Range 



Master setup parameters affect overall performance, range, and global 
effects. This section describes the Master parameters and how to define 
them. 



The Transpose parameter transposes the key of all presets, in semitone 
intervals. The transpose range is + 24 semitones. 

Master Tune adjusts the fine tuning of all presets so that you can tune 
Mo'Phatt to other instruments. The master tuning range is + 1 semitone in 
l/64th semitone increments (1.56 cents). A master tune setting of "+00" 
indicates that Mo'Phatt is perfectly tuned to concert pitch (A=440 Hz). 



MRSTER TRRN5P05E 
+00 semitones 



TUNE 
+00 



The Bend Range parameter sets the range of the pitch wheel. This affects 
only presets that have their individual Pitch Bend range (denned in the Edit 
menu) set to Master. The maximum pitch bend range is +12 semitones or 
one octave in each direction. 



MRSTER BEND RRNGE 
+/- 7 semitones 



66 E-MU Systems 



Master Menu 
Defining Master Parameters 



Velocity Curve 



You can modify incoming velocity data by a velocity curve in order to 
provide different types of dynamics in response to your playing, or to better 
adapt to a MIDI controller. The Master Velocity Curve lets you select one of 
thirteen master velocity curves or to leave the data unaltered (linear). 



MR5TER VELOCITY CURVE 
13 




20 40 60 80 100 120 

Played Velocity 




20 40 60 80 100 120 

Played Velocity 



ft 


120 










o 

01 

> 

■M 

l/l 
01 
DC 


120 — 
100 




'0 
o 




Cu 


•ve 9 






80 — 




•> 












60 — 




4-1 














/ Curve 13 




20 — 


















ill 


20 — 










— 

( 






( 


11111 

) 20 40 60 80 100 120 

Played Velocity 


) 20 40 60 80 100 120 

Played Velocity 



For a complete list of all available velocity curves, see "Velocity Curves" on 
page 220 of the Appendix. 



Mix Output 



The Mix Output parameter allows you to override the routing assignments 
made in each preset and instead assign the outputs according to MIDI 
channel. For each of the 16 MIDI channels, you can select Send 1-4, or 
Preset. When Preset is selected, the output assignment denned in the Preset 
Edit menu is used. 



Mo'Phatt Operation Manual 67 



Master Menu 
Defining Master Parameters 



MIX OUTPUT 
channel 16: use preset 



MIX OUTPUT 
channel 15: Send 1 



The Sends function as effect processor inputs (effect sends). The four Effect 
Sends allow you to get the most out of the two effect processors. For 
example, with Effect B set to an echo algorithm, you could route one MIDI 
channel to Send 3 and set the effect amount to 80%. Another MIDI channel 
could be routed to Send 4 with an effect amount of only 5%. This is almost 
like having two different effects! 

OUTPUT SECTION 
& EFFECTS PROCESSORS 



MIDI Channel 1 
MIDI Channel 2 
MIDI Channel 3 
MIDI Channel 4 
MIDI Channel 5 
MIDI Channel 6 



MIDI Channel 16 
MIDI CHANNEL 




FX Sends Hall 1 

^Send 1 15%] ' 



i send2io% i Effect 

I Send 3 0%~| 

A 

. | Send 4 0%~| 



* 



B-A 



Chorus 



FX Sends 

^ Send 1 0%~1 

i send2 ° % i Effect 

I Send 3 20%| __ 

— R 

| Send 4 15%] 



68 E-MU Systems 



Master Menu 
Master Effects 



Master Effects 



Effects Mode 



Effects Multi Mode 
Control 



The digital effect processors can be programmed as part of the preset (using 
the Edit menu) so that effects will change along with the preset. However, 
there are only two effect processors, and so you cannot have a different 
effect on each preset when in Multi mode. 

The Master Effects settings assign the effect processors "globally" for all 
presets to provide a way to use the effects in Multi mode. Detailed infor- 
mation is presented in the Effects chapter (see Effects on page 169). 



The FX Mode page enables or bypasses the effects. When the FX Mode is set 
to "bypass," the effects are turned off on a global scale. This includes Effects 
programmed in the preset. 



FX MODE 
Enabled 



The routing scheme for the two stereo effects processors provides a lot of 
versatility. When in multi mode, you can "use master settings" which 
applies the Master menu effects settings to all 16 MIDI channels. 



FX MULTIMODE CONTROL 
use master settings 



If you want more control, you can use the "channel" setting which applies 
the effects settings of the preset on a specified channel to all the other 
channels. Changing the preset on the specified channel changes the effect. 



FX MULTIMODE CONTROL 
preset on channel 1 



If you are in Omni or Poly modes this parameter is disabled and the 
message in parentheses explains that Mo'Phatt is currently in Omni mode. 



FX MULTIMODE CONTROL 
(using Omni mode) 



Mo'Phatt Operation Manual 69 



Master Menu 
Master Effects 



Master FXA 
Algorithm 



This function selects the type of effect used for the "A" effect. The following 
effect types are available. 



MR5TER FXR RLGORITHM 
Room 1 



A Effect Types 



1. Room 1 


23. 


BBall Court 


2. Room 2 


24. 


Gymnasium 


3. Room 3 


25. 


Cavern 


4. Hall 1 


26. 


Concert 9 


5. Hall 2 


27. 


Concert 10 Pan 


6. Plate 


28. 


Reverse Gate 


7. Delay 


29. 


Gate 2 


8. Panning Delay 


30. 


Gate Pan 


9. Multitap 1 


31. 


Concert 11 


10. Multitap Pan 


32. 


Medium Concert 


11. 3 Tap 


33. 


Large Concert 


12. 3 Tap Pan 


34. 


Large Concert Pan 


13. Soft Room 


35. 


Canyon 


14. Warm Room 


36. 


DelayVerb 1 


15. Perfect Room 


37. 


DelayVerb 2 


16. Tiled Room 


38. 


DelayVerb 3 


17. Hard Plate 


39. 


DelayVerb 4 Pan 


18. Warm Hall 


40. 


DelayVerb 5 Pan 


19. Spacious Hall 


41. 


DelayVerb 6 


20. Bright Hall 


42. 


DelayVerb 7 


21. Bright Hall Pan 


43. 


DelayVerb 8 


22. Bright Plate 


44. 


DelayVerb 9 



70 E-MU Systems 



Master Menu 
Master Effects 



FXA Parameters: 
Decay /HF Damping 
FxB -> FxA 



FXA Send Amounts 



Master FXB 
Algorithm 



This page lets you define the parameters of the selected Effects algorithm. 
Use this page to setup the effect decay, high frequency damping amount 
and to route "B" effects through the "A" effects. See "Effect Parameters" on 
page 171 for more details. 



FXR DECRY 
040 



HFDRMP FxB>FxR 
096 001 



These parameters set the effects amounts for each of the four stereo effects 
busses. See "Master Effects" on page 174 for detailed information. 



FXR SEND RMOUNTS 1:100% 

2: 50% 3: 10% M: 0% 



This parameter selects the type of effect used for the "B" effect. The 
following effect types are available. 



MR5TER FXB ALGORITHM 
Chorus 1 



Mo'Phatt Operation Manual 71 



Master Menu 
Master Effects 



FXB Parameters: 
Feed back/ LFO Rate 
Delay Time 



FXB Send Amounts 



B Effect Types 



1. Chorus 1 


17. 


Ensemble 


2. Chorus 2 


18. 


Delay 


3. Chorus 3 


19. 


Delay Stereo 


4. Chorus 4 


20. 


Delay Stereo 2 


5. Chorus 5 


21. 


Panning Delay 


6. Doubling 


22. 


Delay Chorus 


7. Slapback 


23. 


Pan Delay Chorus 1 


8. Flange 1 


24. 


Pan Delay Chorus 2 


9. Flange 2 


25. 


Dual Tap 1/3 


10. Flange 3 


26. 


Dual Tap 1/4 


1 1 . Flange 4 


27. 


Vibrato 


12. Flange 5 


28. 


Distortion 1 


13. Flange 6 


29. 


Distortion 2 


14. Flange 7 


30. 


Distorted Flange 


15. Big Chorus 


31. 


Distorted Chorus 


1 6. Symphonic 


32. 


Distorted Double 



The FXB parameters setup the characteristics of the effect. Use this page to 
define the feedback amount, the LFO rate and delay amount for the 
selected type "B" effect. See "Effect Parameters" on page 171 for details. 



FXB FEEDBK 
000 



LFORRTE DELRY 
003 



These parameters set the effects amounts for each of the four stereo effects 
busses. See the Effects chapter for detailed information. 



FXB SEND RMOUNTS 1:100% 

2: 50% 3: 10% M: 0% 



72 E-MU Systems 



Master Menu 
MIDI Parameters 



MIDI 
Parameters 

MIDI Mode 



MIDI SysEx ID 



&6 

^^ WARNING: When 
transferring SysEx data from one 
Mo'Phatt to another, the ID 
numbers of both units must be 
the same. 



MIDI parameters control how the Mo'Phatt sends and receives MIDI data. 



MIDI Mode selects one of the three MIDI modes: Omni, Poly or Multi 
mode. 



MIDI MODE 
omni 



CHRNGE 
ignored 



The MIDI Mode Change parameter specifies whether mode changes made 
through an external MIDI controller are accepted or ignored. 

The MIDI modes are as follows: 

Omni 

Responds to note information on all MIDI channels and plays the preset 
currently displayed in the main screen. 

Poly 

Responds only to note information received on the currently selected MIDI 
channel (on the preset selection screen) and plays that channel's associated 
preset. 

Multi 

Responds to data on any combination of MIDI channels and plays the 
specific preset associated with each of the MIDI channels. You must select 
multi mode for multitimbral operation. 

This page defines the MIDI system exclusive (SysEx) device ID number. The 
SysEx ID lets an external programming unit to distinguish between 
multiple Mo'Phatt units connected to the same preset editor. In this case 
each unit must have a unique SysEx ID number. 



MIDI SYSEX ID 
000 



Mo'Phatt Operation Manual 73 



Master Menu 
MIDI Parameters 



MIDI Enable 



MIDI Program 
Change -> Preset 



% 



The Program->Preset 
Change only works for program 
changes received in Bank 0. 



MIDI Enable lets you turn each MIDI channel on and off independently 
when in Multi mode. This feature is helpful when you have other devices 
connected to the same MIDI line and do not want the Mo'Phatt unit to 
respond to the MIDI channels reserved for the other devices. 



MIDI ENRBLE 
channel 01: On 



Because the MIDI Enable function only makes sense if you are in Multi 
mode, Mo'Phatt disables this feature when in Omni or Poly mode. 



In Multi 
Mode 



MIDI ENRBLE 
channel 16: On 



In Omni 
Mode 



MIDI ENRBLE 
(using Omni mode) 



You can also remap incoming MIDI program changes to a different 
numbered preset. This is a handy feature when your master keyboard 
cannot send a bank change or you want to reorder preset numbers. Any 
preset can be mapped to any incoming MIDI program change number. 

For example, you could set up the Program -> Preset map to call up preset 
#12 whenever Mo'Phatt receives MIDI program change #26. 

The four fields shown below are editable. 




Incoming Program 
Change in Bank 



ROM Bank Program No. Bank No. 



74 E-MU Systems 



Master Menu 
MIDI Parameters 



X 



Programs and presets 
are the same thing. "Preset" is 
E-MU's term for MIDI Program. 



Receive Program 
Change 



Real-time Controller 
Assignment 






Selected 
Program 








1 


2 


3 


4 


5 


6 


7 


8 


9 




00° 


01° 


02° 


03° 


04° 


05° 


06° 


07° 


08° 


09° 


10 


44 


91° 


50' 


01° 


15° 


88° 


99 


78° 


32 


88° 


20 


34 


73° 


106 


55° 


43 Z 


75° 


12° 


120° 


121° 


ioo 2 


30 


30° 


31° 


32° 


33° 


34° 


35° 


36° 


37° 


38° 


39° 


40 


40° 


41° 


42° 


43° 


44° 


45° 


46° 


47° 


48° 


49° 


50 


50° 


51° 


52° 


53° 


54° 


55° 


56° 


57° 


58° 


59° 


60 


60° 


61° 


62° 


63° 


64° 


65° 


66° 


67° 


68° 


69° 


70 


70° 


71° 


72° 


73° 


74° 


75° 


76° 


77° 


78° 


79° 


80 


80° 


81° 


82° 


83° 


84° 


85° 


86° 


87° 


88° 


89° 


90 


90° 


91° 


92° 


93° 


94° 


95° 


96° 


97° 


98° 


99° 


00 


100° 


101° 


102 


103 


104 


105° 


106° 


107° 


108° 


109° 


10 


110° 


111" 


112 


113 


114 


115° 


116° 


117° 


118° 


119° 


20 


120° 


121° 


122° 


123° 


124° 


125° 


126° 


127 







I HI 
1 L_ 



Mapped 
Program 



In this chart, program changes 10-29 have been remapped to new preset numbers. All 
other presets are selected normally. 

Use this function to instruct the Mo'Phatt to utilize or ignore incoming 
MIDI preset changes or Bank Select commands for each channel. Use the 
cursor buttons to select the channel number field, then use the Data Entry 
Control to select a channel number. Use the cursor button again to select 
the On/Off field and the Data Entry Control to change the value. 



RECEIVE PR0GRRM CHRNGE 
channel 01 : on 



Use these three pages to assign twelve real-time control sources. Each MIDI 
Controller is assigned a letter (A - L). The front panel Controller Knobs and 
twelve MIDI controller numbers share the A-L controller routings. These 
screens let you select which MIDI real-time controllers numbers will be 
received (from 1 to 31 and front 64 to 119) and which controller 
numbers will be transmitted over MIDI if the front panel controls are 
turned.The Patchcord routing and amount in the Edit menu determine 
what effect the controller has on each preset. Real-time controllers are 
shown in the Patchcord menu as MIDI A through MIDI L. 



Mo'Phatt Operation Manual 75 



Master Menu 
MIDI Parameters 



\ 



Mo'Phatt factory presets 
have certain synth parameters 
assigned to each controller letter 
and so these are "Global" 
controller assignments. 

For example, assigning a MIDI 
controller to "A" in this screen 
would let you control filter Fc for 
all the factory presets. See 
"Front Panel Knob Functions " on 
page 195. 



MIDI Footswitch 
Assign 



The Real-time Controller assignment also specifies which controller 
numbers are transmitted when the "Knobs MIDI Out" is enabled (see 
"Knobs/Riff MIDI Out" on page 78). 



RERLTIME CONTROLLER # 
R: 21 B: 22 C: 23 D: 24 



RERLTIME CONTROLLER # 
E: 25 F: 26 G: 27 H: 28 



RERLTIME CONTROLLER # 
I: 80 J: 81 K: 91 L: 93 



Note: Controllers 7 and 10 are already assigned to Volume and Pan for each 
MIDI channel. Controllers 91 & 93 are the standard controller numbers for 
reverb and chorus send amounts. 

Following are a few of the standardized MIDI Controller numbers as 
denned by the MIDI manufacturers association. The controllers shown in 
Bold are automatically routed to the destination (volume & pan) or have 
their own Patchcord source. Others, such as Portamento Time, can be 
routed using a Patchcord to have the desired effect. 



1 - Modulation Wheel 

2 - Breath Controller 

3 - Old DX7 Aftertouch 

4 - Foot Pedal 

5 - Portamento Time 

6 - Data Entry 



7 - Volume 

8 - Balance 

9 - Undefined 

10 - Pan 

11 - Expression 



Like the MIDI Controllers, you can assign three MIDI footswitches to MIDI 
footswitch numbers. Footswitches numbers are from 64-79. Destinations 
for the footswitch controllers are programmed in the Patchcord section of 
the Edit menu. 




76 E-MU Systems 



Master Menu 
MIDI Parameters 



Tempo Controller 



>0 See "Base Tempo 
(Master Clock)" on page 36. 



Knob Preset 
Quick-Edit 



>0 Quick Edit does not work 
while in the Edit menu with 
"Knobs Deep Edit" enabled. 



Following are a few of the standardized MIDI Switch numbers. 



64 - Sustain Switch (on/off) 


67 - Soft Pedal (on/off) 


65 - Portamento (on/off) 


69 - Hold Pedal 2 (on/off) 


66 - Sostenuto (on/off) 





This function allows a MIDI controller to change the Base Tempo of the 
Master Clock. The Master Clock is used for the clock divisor Patchcords, 
tempo-based envelopes and synced LFOs. (See "Clock Modulation" on 
page 90.) You can assign any controller number from 0-31, mono key 
pressure, or the pitch wheel to change the Base Tempo. 

A different controller can be used to change the tempo up or down. The 
Pitch Wheel can be assigned to both the up and down parameters to vary 
the tempo up and down from a single controller. If any other controller is 
assigned to both the up and down parameters, Mo'Phatt redefines the 
center of the controller's range as zero (so it acts like a pitch wheel). 

MIDI Controller values are added to the Base Tempo with a range of +64. 
When the controller is set to "off" the tempo returns to its original setting. 
This control has no effect when using an external clock. 



TEMPO CONTROLLER* 
Up: 03 Down: 09 



CHRN 
16 



"Quick-Edit" changes the initial controller setting in the preset whenever 
you move a Control Knob. This parameter selects whether or not the front 
panel Controller Knobs are used to Quick-Edit the currently selected preset. 
See "Real-time Control" on page 27 in the Operations chapter for more 
details. 



KNOBS PRESET QUICK-EDIT 
disabled 



Mo'Phatt Operation Manual 77 



Master Menu 
MIDI Parameters 



Knobs 
Deep Edit 



Knobs/Riff MIDI Out 



Preset Edit All Layers 
Enable 



This parameter specifies whether or not the front panel controller knobs 
can be used to edit parameter values in the Master or Edit menus. This is 
called "Deep-Editing." With Knob Deep Edit disabled, the front panel 
controller knobs retain their function as real-time controllers even when in 
the Master or Edit modes. 



KNOBS DEEP EDIT 
disabled 



This function allows you to select whether or not MIDI controller data is 
transmitted when you turn the front panel Controller knobs. The knobs 
transmit on the controller numbers denned by the Real-time Controller 
Assign parameter (see page 75). This function also enables or disables trans- 
mission of Riff note data over MIDI when the Audition button is pressed. 

If Deep Edit is enabled, "Knobs MIDI Out" does not work while in any of 
the editing menus (Master, Edit, Save/Copy). 



KNOBS/RIFF MIDI OUT 
don't transmit 



This function allows you to turn the Edit All Layers feature on or off. "Edit 
All Layers" is an Edit menu feature which allows you to select all layers (A) 
in order to edit all four layers simultaneously. Because this feature can be 
confusing to the beginning programmer, it can be disabled here in the 
Master menu. Check this feature out when you're ready. It's great! 



PRESET EDIT RLL LRYERS 
enabled 



78 E-MU Systems 



Master Menu 
MIDI Parameters 



Front Panel Knob 
Calibration 



This function calibrates the minimum and maximum values for the five 
front panel knobs. The controls should be calibrated periodically in order to 
compensate for normal wear and tear on the controls themselves or if the 
controls behave strangely. Before calibration, it's usually a good idea to let 
the unit warm up for about half an hour to ensure you have the maximum 
range on all the front panel controls. 

► To Calibrate the Front Panel Control Knobs 

1. Press the Master menu button and advance to the Calibrate Knobs page. 



CRLIBRRTE KNOBS 
Start 



2. Press the Enter button to begin the calibration process. The following 
screen appears. 



Turn all knobs to MIN 
Press Enter when ready 



3. Turn all knobs to their minimum value (which is pegged in the counter- 
clockwise direction), then press the Enter button. The screen briefly 
flashes, "Reading Values...," then displays: 



Turn all knobs to MRX 
Press Enter when ready 



Turn all knobs to their maximum value (pegged in the clockwise 
position), then press the Enter button. The display shows, "Reading 
Values... Done." Calibration is complete. 



Mo'Phatt Operation Manual 79 



Master Menu 
MIDI Parameters 



MIDI SysEx Packet 
Delay 



Send MIDI System 
Exclusive Data 



\ 



The Preset, Volume, 
and Pan information for all 7 6 
channels is included when the 
Multi mode Map settings are 
transmitted or received. 



Sometimes errors occur if the computer or sequencer to which you are 
sending MIDI SysEx data is faster or slower than the Mo'Phatt. The MIDI 
SysEx Packet Delay command lets you specify the amount of delay between 
MIDI SysEx packets so the input buffer of your computer does not overflow, 
causing an error. The value range is from through 8000 milliseconds. A 
delay value of zero allows full speed MIDI transfer. If you are experiencing 
data transmission errors, try increasing the delay value until the problem 
disappears. 



MIDI SYSEX PRCKET DELRY 
300 milliseconds 



This command transmits MIDI System Exclusive (SysEx) data to the MIDI 
Out port of Mo'Phatt. The MIDI data can be sent to a computer, sequencer 
or to another Mo'Phatt. When transferring data between two Mo'Phatts be 
sure both units have the same SysEx ID number! See "MIDI SysEx ID" on 
page 73 to learn how to change the SysEx ID. 

Using the cursor key and the Data Entry Control, select the type of MIDI 
data you want to transmit. Following are descriptions of the types of MIDI 
data that can be transmitted. 

Current Multisetup 

Transmits all parameters in the Master menu except Tuning Tables, 
Program/Preset Map and Viewing Angle. 

Program /Preset Map 

Transmits the MIDI Program -> Preset Map. 

All User Tuning Tables 

Transmits all 12 user User Tuning Tables. 

Multimode Map 

Transmits the following parameters: 

• Multimode Basic Channel 

• Multimode Effects Control Channel 

• Multimode Tempo Control Channel 

and for each MIDI Channel. . . 

• Preset, Volume, & Pan 

• Mix Output 

• Multimode Channel Enable 

• Multimode Bank Map 

• Multimode Receive Program Change 



80 E-MU Systems 



Master Menu 
MIDI Parameters 



&6 

^^ WARNING: When 
transferring SysEx data from one 
Mo'Phatt to another, the ID 
numbers of both units must 
match. 



Bank User Presets 

Transmits all the user denned presets in Bank 0. 

Bank 1 User Presets 

Transmits all the user defined presets in Bank 1. 

Bank 2 User Presets 

Transmits all the user defined presets in Bank 2. 

Bank 3 User Presets 

Transmits all the user defined presets in Bank 3. 

Any Individual Preset 

Transmits only the selected preset. 

All User Arp Patterns 

Transmits all user arpeggiator patterns. 

All User Data 

Transmits ALL: user presets, user tuning tables, user arp patterns, and user 
multisetups. 

The Enter LED will be flashing. Press the Enter button to confirm the 
operation. To receive MIDI data, simply send the MIDI data into Mo'Phatt 
from another Mo'Phatt or from a computer/sequencer. 



SEND MIDI SYSEX DRTR 
bank 1 user presets 



► To Record MIDI SysEx Data into a Sequencer: 

1. Setup the sequencer to receive system exclusive data. 

2. Place the sequencer into record mode, then Send MIDI Data. 

► To Receive MIDI SysEx Data from a Sequencer: 

Simply play back the sequence containing the SysEx data into Mo'Phatt. 



Mo'Phatt Operation Manual 81 



Master Menu 
MIDI Parameters 



User Key Tuning 



\ 



The user key tuning can 
be used to tune individual 
percussion instruments. 



Screen Viewing 
Angle 



User Key Tuning lets you create and modify 12 user definable tuning tables. 
The initial frequency of every key can be individually tuned, facilitating the 
creation of alternate or microtonal scales. 

Using the cursor keys and the Data Entry Control, select the user table 
number, the key name, the coarse tuning and the fine tuning. The key 
name is variable from C-2 to G8. Coarse Tuning is variable from to 127 
semitones. The fine tuning is variable from 00 to 63 in increments of 1/64 
of a semitone (approx. 1.56 cents). For each preset, the specific tuning table 
is selected in the Edit menu. 



USER KEY TUNING Table: 1 

Key: CI Crs: 036 Fine: 00 



This function changes the viewing angle of the display so that you can read 
it easily from either above or below the unit. The angle is adjustable from 
+7 to -8. Positive values will make the display easier to read when viewed 
from above. Negative values make the display easier to read from below. 




82 E-MU Systems 



Programming Basics 



This chapter explains how Mo'Phatt sounds are constructed and contains 
important background information on how to create your own custom 
presets. 

Your initial involvement with Mo'Phatt will most likely be using the 
existing presets and selecting MIDI channels. While the factory presets are 
very good, there are some things you will probably want to change 
eventually perhaps the LFO speed, the filter frequency or the attack time. 
You may also want to make your own custom presets using complex 
modulation routings. This module will do far more than you ever imagined 
and there are whole new classes of sound just waiting to be discovered. 

Each preset can consist of up to four instrument layers. Each of the four 
layers can be placed anywhere on the keyboard and can be crossfaded or 
switched according to key position, velocity, or by using a real-time control 
such as a wheel, slider, pedal, LFO or envelope generator. A preset can also 
be "linked" with up to 2 more presets creating additional layering or splits. 

Mo'Phatt has an extensive modulation implementation using two multi- 
wave LFO's (Low Frequency Oscillators), three multi-stage envelope gener- 
ators and the ability to respond to multiple MIDI controllers. You can 
simultaneously route any combination of these control sources to multiple 
destinations. 

There are 512 user locations (USER Banks 0-3) available to store your own 
creations or edited factory presets. It's easy and fun to edit or create your 
own unique presets. 



Mo'Phatt Operation Manual 83 



Programming Basics 
Modulation 



Modulation 



To modulate means to dynamically change a parameter, whether it be the 
volume (amplitude modulation), the pitch (frequency modulation), and so 
on. Turning the volume control on your home stereo rapidly back and 
forth is an example of amplitude modulation. To modulate something we 
need a modulation source and a modulation destination. In this case, the 
source is your hand turning the knob, and the destination is the volume 
control. If we had a device that could turn the volume control automati- 
cally, we would call that device a modulation source. 




Turning the volume control back and forth on your home stereo is an example of 
Amplitude Modulation. 



Mo'Phatt is designed so that each of the variable parameters, such as the 
volume, has an initial setting which is changed by a modulation source. 
Therefore in the case of volume, we have an initial volume that we can 
change or modulate with a modulation source. 

Two main kinds of modulation sources on Mo'Phatt are Envelope Generators 
and Low Frequency Oscillators. In the example above, an envelope generator 
could be routed to automatically turn the volume control as programmed 
by the envelope. Or, a low frequency oscillator could be routed to turn the 
volume up and down in a repeating fashion. 

Positive modulation adds to the initial amount. Negative modulation 
subtracts from the initial amount. 

Summing Nodes 

All the modulation inputs on Mo'Phatt are summing nodes. This means 
that you can connect as many modulation sources as you want to an input 
(such as Pitch or AmpVol). Modulation sources are simply added algebra- 
ically — connecting two knobs one set to -100 and the other set to +100 
yields a net value of zero. 



84 E-MU Systems 



Programming Basics 
Modulation Sources 



Modulation 
Sources 



\ 



Tip: Try routing Key 
Clide to Filter Frequency if you 
want the filter to smoothly 
follow pitch in solo mode. 
Routing Key Clide to Pan creates 
another interesting effect. 



Modulation sources include Envelope Generators, Performance Controllers and 
Low Frequency Oscillators. In the previous example, an envelope generator 
was routed to automatically turn the volume control as programmed by the 
envelope, or, a low frequency oscillator could be routed to turn the volume 
control up and down in a repeating fashion. The following is a list of the 
modulation sources used in Mo'Phatt. 

Keyboard Key 

Which key is pressed. 

Key Velocity 

How fast the key is pressed. 

Release Velocity 

How fast the key is released. 

Gate 

High if the key is pressed, low when the key is released. 

Key Glide 

A smoothly changing control source based on the Glide Rate and the 
interval between the last two notes played. 

Pitch and Mod Wheels 

Synthesizer pitch bend and modulation wheels. 

Keyboard Pressure (mono aftertouch) 

Key Pressure applied after the key is initially pressed. 

Pedal 

A continuously variable pedal controller. 

Miscellaneous Controllers A -L 

Any type of MIDI continuous controller data. 

Low Frequency Oscillators (2 per layer) 

Generate repeating waves. 

Envelope Generators (3 per layer) 

Generate a programmable "contour" which changes over time when a key 
is pressed. 

Noise & Random Generators 

Generate spectrums of noise and random signals. 

Footswitches 

Change a parameter when the switch is pressed. 

Clock Divisor 

The master clock can be divided and used as a modulation source. 



Mo'Phatt Operation Manual 85 



Programming Basics 
Modulation Patchcords 



Random Sources 



Modulation 
Patchcords 

>0 The controller Knobs 
assignments printed on the front 
panel are the system defaults. 
You can change any of these 
assignments using the Real-time 
Controller Assignment page in 
the Master menu (see page 75 
for details). 



Random modulation sources can be used when you want the timbre of the 
sound to be "animated" in a random or non-consistent manner. 

• Key Random 1 & 2 generate different random values for each layer 
which do not change during the note. 

• The White & Pink Noise Generators produce varying random values. 
Both white and pink noise sources are low frequency noise designed 
for control purposes. Either noise source can be filtered even more by 
passing it through a lag processor. 

• The Crossfade Random function generates the same random value 
for all layers in a preset. This source is designed to be used for cross- 
fading and cross-switching layers, although you may find other uses. 



When setting up modulation with the Mo'Phatt, you define a modulation 
source and a modulation destination. Then, you connect the source to the 
destination using "Patchcords." Mo'Phatt's Patchcords are connected in 
the software. Mo'Phatt has 24 general purpose Patchcords for each layer. 

You can connect the modulation sources in almost any possible way to the 
modulation destinations. You can even modulate other modulators. Each 
Patchcord also has an amount parameter which determines "how much" 
modulation is applied to the destination. The modulation amount can be 
positive or negative. Negative values invert the modulation source. 



Modulation 
Source 




Destination 



Amp 
Volume 



Modulation 
Source 



Destination 



LFO 1 

LF0 2 

Amp Env 

Filt Env 

Aux Env 

Wheel 

Pressure 

etc. 



Amp Vol 

Pitch 

Pan 

LFO Rate 

Aux Env 

Env Atk 

Glide 

etc. 



86 E-MU Systems 



Programming Basics 
Envelope Generators 



Envelope 
Generators 



If two adjacent segments 
have the same level in a "time- 
based" envelope, the segment 
will be skipped. Adjacent 
segments must have different 
levels for the rate control to 
work. 



X 



By routing the Auxiliary 
or Filter Envelopes to control the 
pitch (Patchcords) you can 
easily hear the shape of the 
envelopes you are creating. 



An envelope can be described as a "contour" which is used to shape the 
sound over time in a pre-programmed manner. There are three envelope 
generators per layer and all of them are the rate/level type. 

This is how the rate/level (time based) envelopes work: When a key is 
pressed, envelope starts from zero and moves toward the Attack 1 Level at 
the Attack 1 Rate. As soon as it reaches this first level, it immediately begins 
the next phase and moves toward the Attack 2 level at the Attack 2 rate. As 
long as the key is held down, the envelope continues on through the Decay 
1 and Decay 2 stages. If the key is still held when the envelope reaches the 
end of Decay 2, it simply waits there for you to release the key. When you 
release the key, the envelope continues into the Release 1 and Release 2 
stages, stopping at the end of the Release 2 stage. Mo'Phatt's envelope 
generators provide great flexibility for programming both complex and 
simple envelopes. 




Key 
Released 



All three envelope generators have the six stages described above. The 
Volume Envelope generator controls the volume of the voice over time. 
The Filter Envelope generator is a general purpose envelope most often 
used to control the filter frequency. Unlike the Volume Envelope, however, 
the Filter Envelope can have a negative level value as well as a positive 
level. There is also an Auxiliary Envelope generator which is a general 
purpose envelope. The Auxiliary Envelope is identical to the Filter Envelope 
and can have negative as well as positive levels. You can adjust the time of 
each stage to create myriad envelope shapes, which in turn shape the 
sound over time. 

• Volume envelopes contour the way the volume of a sound changes 
over time determining how we perceive that sound. For example, a 
bell struck with a hammer is instantly at full volume, then slowly dies 
away. A bowed violin sound fades in more slowly and dies away 
slowly. Using Mo'Phatt's Volume Envelope, you can simulate the dif- 
ferent types of natural instrument volume envelopes by programming 
them appropriately. 



Mo'Phatt Operation Manual 87 



Programming Basics 
Envelope Generators 



S*> 



Only the Filter and 
Auxiliary Envelopes have the 
repeating feature. 



Tempo-based Envelopes 

Tempo-based envelopes are based on Time which is controlled by the 
Master Clock (located in the Arp/Beats menu). The Master Clock rate scales 
the time of the Tempo-based envelope segments. The Master Clock can also 
be set to use an external MIDI clock so that the envelope times can be 
synchronized to external sequencer or arpeggiator tempo changes. 



Tempo-Based Envelopes 




= Initial Setting 

= Increase Master Tempo 

= Decrease Master Tempo 



Envelope Repeat 

The Envelope Generators can also be made to repeat. When the envelope 
repeat function is On, the Attack (1&2) and Decay (1&2) stages will 
continue to repeat as long as the key is held. As soon as the key is released, 
the envelope continues through its normal Release stages (1 & 2). 



t 

level 



time 




Key Down 



Key Released 



The diagram above show how the looping envelopes work. When the key is 
pressed the envelope goes through its regular Attack 1, Attack 2, Decay 1 
and Decay 2 stages. In non-looping mode, the envelope would hold at the 
end of the Decay 2 stage until the key was released. In looping mode 
however, it jumps back to the Attack 1 stage and repeats the first four 
stages. It continues to loop through these four stages until the key is 
released where it immediately jumps to the Release 1 stage. 



88 E-MU Systems 



Programming Basics 
Low Frequency Oscillators (LFOs) 



Low 

Frequency 
Oscillators 
(LFOs) 



LFO Tricks & Tips: 

• The Random LFO wave is 
truly random and is different 
for each voice and layer. 

• The Pattern (Pat) waveforms 
will sound the same on 
different layers and voices. 

• Sine + Noise is very useful for 
simulating trumpet and flute 
vibrato. 

5 When routing Hemi-quaver 
to Pitch: 

+38 = major scale 
-38 = phrygian scale 
+76 = whole tone scale 
(+38) + (+76) = diminished 
(two cords) 

odd amount = S+H sound 



Note: References to musical 
intervals in the pattern LFO 
shapes are with the LFO 
routed to pitch and a 
Patchcord amount of +38. 



^ 



Try combining the 
Pattern LFOs, or controlling the 
amount of one with another, or 
combining them with the clock 
divisors. 



A Low Frequency Oscillator or LFO is simply a wave which repeats at a slow 
rate. The Mo'Phatt has two multi-wave LFOs for each channel. The LFO 
waveforms are shown in the following illustration. 



Random 



Triangle 



Sawtooth 



-TLJWl 



Sine 



Square 



33% Pulse 



l~L 



25% Pulse 



16% Pulse 



12% Pulse 



[LJU ILJLJ fl 



Pat: Octaves 

+ Octave 



Pat: Neener 



Pat: Fifth + Octave 

c. 



J — L 



Pat: Sus4 trip 

G, 



Sine 1,2 



Sine 1,3,5 




Sine + Noise 



Hemi-quaver 



■^V/V 4\ 




By examining the diagram of the LFO waveforms, you can see how an LFO 
affects a modulation destination. The shape of the waveform determines 
the result. Suppose we are modulating the pitch of an instrument. The sine 
wave looks smooth, and changes the pitch smoothly. The square wave 
changes abruptly and abruptly changes from one pitch to another. The 
sawtooth wave increases smoothly, then changes back abruptly. The 
sound's pitch follows the same course. Controlling the pitch of an 
instrument is an easy way to hear the effects of the LFO waves. 

Like the Auxiliary Envelope, LFOs can be routed to control any real-time 
function such as Pitch, Filter, Panning, or Volume. A common use for the 
LFO is to control the pitch of the sound (LFO -> Pitch). This effect is called 
vibrato and is an important performance effect. Many presets use this 
routing with the modulation wheel controlling "how much" LFO 
modulation is applied. Another common effect, Tremolo, is created by 
controlling the volume of a sound with the LFO (LFO -> Volume). 



Mo'Phatt Operation Manual 89 



Programming Basics 
Clock Modulation 



Clock 
Modulation 



s*> 



Envelopes are triggered 
on the positive going edge of the 
clock. LFOs are triggered on the 
negative going edge of the 
clock. 



>0 The tempo of the master 
clock is set in the Arp/Beats 
menu. 



You might use the LFOs to add a slight bit of animation to the sound by 
routing the LFO to control the filter. For this effect, set the LFO "amount" 
low for a subtle effect. 

When a Patchcord amount is a negative value, the LFO shape is inverted. 
For example, inverting the sawtooth wave produces a wave that increases 
abruptly, then smoothly glides down. 



Negative Amount 

-► - ■>r\c+ — ► 




Sawtooth 



Inverted Sawtooth 



You can use the Master Clock as a modulation source, to trigger the Filter or 
Auxiliary Envelope generators, trigger Sample Start, synchronize the LFOs, 
or directly as a square wave modulation source. The Clock source is 
available in eight divisions (octal whole note, quad whole note, double 
whole note, whole note, half note, quarter note, eighth note, sixteenth 
note). You can use the different rates separately or in conjunction to create 
complex "synchro-sonic" rhythm patterns. You can also use a MIDI Clock 
as the Master Clock to synchronize to an external MIDI device such as a 
drum machine or sequencer. (See "Base Tempo (Master Clock)" on page 36.) 

Clocks are routed exactly like the other modulations sources using the 
Patchcords. The Patchcord Amount MUST be positive (+) for the clock to 
pass. By modulating the Patchcord Amount, you can route the divided 
clocks using real-time controllers or other modulation sources. 

When an LFO is triggered by a clock, the LFO wave resets to zero every time 
the clock wave goes low. If the LFO rate is close to the clock rate, the LFO 
virtually synchronizes with the clock. If the two rates are far apart, the 
waveform of the LFO will be mildly or radically altered. 



Triggered LFO 



LFO Wave 



Clock 




LFO Trigger causes the LFO to reset each time the clock waveform goes low. 



90 E-MU Systems 



Programming Basics 
Clock Modulation 



/\ 


\/ 


/N 


\/ 



LFO Synced to 1/4 Note Clock 



LFOs can also be perfectly synchronized with the clock at any of 25 note 
divisions. This allows you to create very cool "synchro-sonic" effects that 
work perfectly at any tempo. Choosing one of the note divisors in the LFO 
rate screen selects the synced LFO function. 

There are many possibilities for clock modulation and retrigger. For 
example, you can create a repeating six segment curve of any shape by 
triggering the Filter or Auxiliary Envelope generators with the clock. A few 
other possibilities are listed below. 

• Turn different voice layers on and off using different clock divisors. 

• Switch between Auxiliary and Filter Envelope retriggering using a 
slider or footswitch. 

• Retrigger LFOs or Envelopes using noise or other LFOs to create 
random or semi random effects. 

• Alter the LFO waveform by modulating the rate of a triggered LFO. 

• Route multiple clocks with different divisors to the same destination 
(such as pitch) to create complex patterns. (Hint: Adjust the Patchcord 
Amounts.) 



Eighth 
Note 



Quarter 
Note 




Adding these two clocks together in equal amounts produces a stairstep waveform. 



16th 
Note 



8th 
Note 



rLTL = 



Quarter 
Note 



Adding multiple clocks with unequal amounts produces complex repeating patterns. 



Mo'Phatt Operation Manual 91 



Programming Basics 
Modulation Destinations 



Modulation 
Destinations 



s*> 



All the modulation 
destinations are summing 
nodes. This means that you can 
connect as many modulation 
sources as you want to a 
destination. Modulation sources 
are simply added algebraically 
— connecting two sources, one 
with a value of -100 and the 
other with a value of + 100 
yields a net value of zero. 



The Patchcords section of the Edit menu is where you connect sources to 
destinations. Each Patchcord has an amount associated with it which 
controls how much modulation is applied. 



L1 PRTCHCORD 
ModWhl -> RTXfade 



#01 
+036 



The Patchcords screen above and the diagram below show how 
modulation sources are connected to destinations. The modulation sources 
can control any of the destinations in the layer. 




Layer 



Z Plane 
Filter 



Fre< ^ X 

■-ffl. 



Gain 




Envelope 
Gen. 



ITTT 



Envelope 
Gen. 



im 




Mod 
Wheel 



1 



0,-f- 



Envelope 
Gen. 



A A A A 



MIDI 
Controls 



± 



Key # 

Velocity 

Gate 



1 



Mod. 
Proc. 



XX 



• Note-on modulation sources, such as key velocity and gate output a 
single value at note-on time. Realtime modulation sources such as 
LFOs, envelope generators and modulation wheels output 
continuously changing values. 

The possible modulation routings are completely flexible as shown in the 
diagram above. Multiple sources can control the same destination, or a 
single source can control multiple destinations. 



92 E-MU Systems 



Programming Basics 
Modulation Processors 



Modulation 
Processors 



Modulation processors are devices which can modify modulation sources 
such as LFOs and envelope generators before they are applied to a desti- 
nation. Modulation processors let you create patches and do tricks which 
would not be possible otherwise. These modulation processors are indepen- 
dently programmable on each of the four layers. 

Switch 

Outputs a digital "1" when the input is greater than "0". 




Switch 

(above zero) 



Summing Amp 

Lets you add several modulation signals together before applying them to a 
destination. This processor can save Patchcords when routing the output 
to multiple destinations. 




-DC 

_n_n_n_n_ 



Lag Processors 

Slows down rapid changes in the input signal. The output "lags" behind the 
input at a pre-programmed rate. There are two lag processors, Lag and Lag 
1. Lag 1 has a longer lag time than Lag 0. 



Lag 
Processor 



Absolute Value 

This function inverts negative input values and outputs only positive 
values. This device is also called a full wave rectifier. 




Absolute 
Value 



Mo'Phatt Operation Manual 93 



Programming Basics 
Modulation Processors 



>0 The value of a digital 
"7 " is equal to the Patchcord 
amount. 



\ 



Summing Amps can be 
useful in complicated patches 
where you want to control a 
combination of modulation 
signals with a single patchcord. 



Diode 

The diode blocks negative input values, passing only positive values. 




/vy\ 



Flip-Flop 

The output of this processor alternates between a digital "1" and digital "0" 
each time the input goes positive from zero or a negative value. With an 
LFO input, the output will be a square wave of half the input frequency. 




Flip-Flop 



Quantizer 

With the input Patchcord set to 100%, the output value is limited to 16 
discrete values. The value of the input Patchcord controls the number of 
steps. The value of the output Patchcord controls the size of the steps. 




#of 
Steps 



Quantizer 




4x Cain 

This processor amplifies the modulation source by a factor of 4. 




Lag Inputs 

The Lag processors can be used as 2 additional summing amps. LagOsum 
and Laglsum are modulation sources which equal the sum of Patchcords 
connected to the Lag in destination. The summing amp is located before 
the lag processor as shown in the following illustration. 



Sum Node 



Lag 




Lag sum 



94 E-MU Systems 



Programming Basics 
Preset Modulation Processors 



Preset 

Modulation 

Processors 

^S Preset Modulation 
Processors start working as soon 
as the preset is selected. The 
Layer Modulation Processors 
take effect only when a key is 
pressed. 



There are also two "Preset Level" modulation processors located in the 
"Preset Patchcords" screen of the Edit menu. It is important to understand 
that although the preset processors originate at the Preset Level Patchcords, 
their output is used in the Layer Patchcords. 

Preset Lag 

Like the Layer Lag processors (described on page 93) the Preset Lag slows 
down rapid changes in the input signal. The output "lags" behind the input 
at a pre-programmed rate. Unlike the layer level lag processors, the preset lag 
takes effect as soon as the preset is selected. In contrast, the layer level lag 
processors begin acting only after a keyboard key has been depressed. The 
Preset Lag also has a Lag Amount input which controls the lag time. Positive 
lag amounts increase the lag time. A MIDI controller (front panel knob) is 
commonly used to control lag amount. 

The preset lag can be used to "spin-up" and "spin-down" an LFO which 
controls some other effect, perhaps left/right panning, pitch, or the filter. A 
MIDI footswitch could be used as the input to the lag which acts to slow 
down the instantaneous change of the switch. The slowly changing output 
value is then routed using a layer patchcord to crossfade between layers or 
change the speed of an LFO. 




ex. footswitch 



Lag Amount 

(+ value = longer) 

Preset Ramp 

This processor generates a positive or negative going slope whenever the 
first key is depressed on the MIDI channel. 



1st Note 
Played 



Preset Ramp 

Positive Rate 



Preset Ramp 

Negative Rate 



original 
value 




original 
value 



time 




time 



1st Note 
Played 



Mo'Phatt Operation Manual 95 



Programming Basics 
Preset Modulation Processors 



The preset ramp instantly resets when all notes have been released and the 
next first key on the MIDI channel is pressed. The Ramp Rate polarity 
(+ or -) determines if the ramp will be positive or negative going. The value 
of the ramp rate sets the increment. Large values produce fast ramps and 
small values produce slow ramps. Multiple inputs can be connected to the 
ramp rate (just like all the other destinations in Mo'Phatt). 

The patch below shows an application for the Preset Ramp which generates 
an adjustable decay envelope ONLY on the first note played to bring in the 
sound from another layer. Instead of routing the output to the Amp 
Volume you could just as easily route it to control Pitch, LFO Speed or any 
other destination you can think of. Study this patch if you want to learn a 
few new tricks using the patchcords. 



One Layer 



Initial Setting 
-96 dB (off) 



Real Rocket Science 



Percussion 
Instrument 


w 


Z-Plane 
Filter 




r 


► 





► R 



>L 



Decay Time 
(MIDIC) 



Preset 
Cords 



Perc. Amount 
(MIDI H) 



Cord 
+ 100 



Layer 
Cords 



*. 



The combination of the 
DC & Perc. Decay Time Cords 
has the effect of reversing the 
Percussion Decay Time knob. 
The decay time increases as the 
knob is turned up. 



1. DC - Sets initial ramp Fast-Positive (+100) 

2. Decay Knob - Inverted value slows ramp as the knob value is increased. 

3. Ramp Out Cord - Inverts Ramp slope (downward). 

4. Amp Vol - Initial setting is Off (-96dB). Ramp cannot overcome this 
negative bias. 

5. Perc. Amt - When this knob is turned up, the positive bias on the Amp 
is restored so that so that the Ramp can now affect Amp Volume. 

6. Volume Envelope - Fast Attack, Full Sustain, No Release 



96 E-MU Systems 



Programming Basics 
Preset Modulation Processors 



Using the 

Modulation 

Processors 



Modulation processors are inserted into a modulation routing as shown in 
the following diagram. 

The modular analog synthesizers of yesteryear were incredibly flexible, 
partly because processing devices could be connected in any order. 
Modulation processors are designed according to this modular concept. 
They can be linked and used in a wide variety of ways limited only by your 
imagination. Consider the following example: 



Velocity ~ J 



Cord 



Switch 



Switch On when 
Velocity > 



Cord 
Switch value 
is Scaled by 
Cord Amount 




The patch illustrated above is programmed by setting the Patchcord 
screens as shown below. 



L1 PRTCHCORD 
Vel+- -> Switch 



#01 
+100 



L1 PRTCHCORD 
Switch -> Pitch 



#02 
+022 



This particular modulation shifts the overall pitch up a fifth when the key 
velocity exceeds 64. Velocities below 64 play at normal pitch. Notes with 
velocities of 64 and above are raised a perfect fifth. The Velocity "~" source 
scales the played velocity around zero. In other words, low velocities (below 
64) will have negative values and high velocities (64 and above) will be 
positive. A velocity of 64 would be zero. The Switch module only outputs a 
"1" if the input value is greater than zero. This digital "1" value can be 
scaled through the attenuator on the Patchcord to raise or lower the pitch 
by any amount. In this case, a scaling value of +22 raises the pitch by a 
perfect fifth. The amount of the Patchcord on the input to the switch is 
unimportant because ANY velocity value equal or greater than 64 will flip 
the switch. If the input Patchcord amount were a negative value however, 
the action of the velocity would be reversed and velocities less than 64 
would raise the pitch and velocities equal or greater than 64 would play the 
original pitch. 



Mo'Phatt Operation Manual 97 



Programming Basics 
Preset Modulation Processors 



But what if you want the velocity switch point to be something other than 
64? Thanks to modulation processors, it can be done. Here's how. 



Velocity ~ J c 



DC 



Cord 
-21 



Cord 



Switch 



Switch On when 
Velocity > 



J 



Cord 
Switch value 
is Scaled by 
Cord Amount 




Connect the DC level to the input of the switch along with the velocity 
value. Note that more than one modulation source can be applied to the 
input of a processor. 

DC offset adds a fixed value based on the Patchcord Amount setting. If 
applied to the switch along with the velocity it changes the velocity value 
required to trip the switch. By setting the DC amount to a negative 
amount, higher velocity values are required to trip the switch. Setting the 
DC value to a positive value would bring the velocity switch point down. 
The Patchcord screens for this patch are shown below. 



L1 PRTCHCORD 
Vel+- -> 5iDitch 


#01 
+100 






L1 PRTCHCORD 
DC -> Switch 


#02 
-021 








L1 PRTCHCORD 
Switch -> Pitch 


#03 
+022 





98 E-MU Systems 



Programming Basics 
Preset Modulation Processors 



More Examples 



To derive a smooth random function you could route the Pink Noise 
generator through one of the Lag Processors. A smooth random wave is 
useful in small amounts to add a degree of natural variation to timbre when 
routed to filter cutoff. Normal pink noise is low pass filtered audio 
frequency noise with a 3 dB/octave slope to give equal energy per octave. 
Mo'Phatt pink noise is actually more like very low frequency filtered noise, 
but it is perfect for use as a random control source. 



Pink 
Noise 



Lag 
Processor 



Cord 



Lag Smooths 
Pink Noise 



Cord 



Filter 
Cutoff 



Smooth 
Random Function 



The Quantizer can generate interesting whole-tone scales when envelope 
generators or LFOs are routed to the input. The quantizer turns a smoothly 
changing input signal into a series of steps. By routing the output of the 
quantizer to Pitch and adjusting the Patchcord amounts, you can control 
both the number of steps and the pitch interval of each step. 



Number 

of 

Steps 



Size 

of 

Steps 




Quantizer 



Cord 




Cord 



The input Patchcord amount controls how many steps will be generated. 
With a sawtooth wave (LFO+) feeding the input and the Patchcord amount 
set to 100%, sixteen steps are generated. The output Patchcord amount 
controls the size (or interval) of the steps. 

Try setting up the following patch exactly as shown below using your 
favorite preset as a starting point. 





L1 LF01 


5HRPE 
sawtooth 


SYNC 
key sync 








L1 LF01 


RRTE 
0.35Hz 


DELRY VRR 
000 000 





Mo'Phatt Operation Manual 99 



Programming Basics 
Preset Modulation Processors 



V 



The 4x Amp can be used 
to get more steps or increase the 
interval of the Quantizer. 



\ 



Experiment with this 
patch by connecting other 
sources and destinations to the 
Quantizer. 



L1 PRTCHCORD 
LF01+ -> Quantize 



#01 
+030 



L1 PRTCHCORD 
Quantize -> Pitch 



#02 
+100 




This patch generates an ascending arpeggio every time a key is pressed. A 
diagram of the patch is shown below. The patch is very straightforward 
except for the DC offset which was added to bring the pitch down into 
tune. (Sometimes you have to fix a problem, but using the mod processors 
there's usually a way around it to achieve the desired result.) 



LFO+ 



Number 
100% 




-50% 



You can start to see some of the possibilities (and there are many). 
Whenever you find yourself wishing for some esoteric type of control, take 
a minute to think and see if there is a way to achieve the desired result 
using the modulation processors. 



100 E-MU Systems 



Programming Basics 
Modulation Processors 



Dynamic 
Filters 



The block diagram of the Mo'Phatt's signal path is shown below. 




Vol Pan 



To understand how a filter works, we need to understand what makes up a 
sound wave. A sine wave is the simplest form of sound wave. Any 
waveform, except a sine wave, can be analyzed as a mix of sine waves at 
specific frequencies and amplitudes. 




+ wv 




Any waveform can be analyzed as a mixture of sine waves. 

One way to represent complex waveforms is to use a chart with frequency 
on one axis and amplitude on the other. Each vertical line of the chart 
represents one sine wave at a specific amplitude and frequency. 



100 



80 H 
01 
3 60 



40 



20 



40 80 160 360 720 1440 2880 

Frequency 



Mo'Phatt Operation Manual 101 



Programming Basics 
Dynamic Filters 



What is a Filter? 



Most sounds are complex waves containing many sine waves of various 
amplitudes and frequencies. A filter is a device which allows us to 
remove certain components of a sound depending on its frequency. For 

example, a low-pass filter lets the low frequencies pass and removes only the 
high frequencies as illustrated in the following diagram. 



100 



Cutoff Frequency 




Low Pass 
Filter 



40 80 160 360 720 1440 2880.. 

Frequency 



A filter that lets only the high frequencies pass is called a high-pass filter as 
illustrated in the following diagram. 



100 



80 

01 
"§60 

"5. 

£ 40 

< 

20 



Initial Frequency 



Filter Output 



High Pass 
Filter 



40 80 160 360 720 1440 2880... 
Frequency 



102 E-MU Systems 



Programming Basics 
Dynamic Filters 



A filter which only lets a certain band of frequencies pass is called a 
band-pass filter. 



100 



80 

1 60 

"5. 

£ 40 
< 

20 



Center Frequency 



Filter 
Output 



I 



Band Pass 
Filter 



40 80 160 360 720 1440 2880... 

Frequency 



A notch filter is just the opposite of a band-pass filter and is used to 
eliminate a narrow band of frequencies. 

Another control found on traditional filters is called Q or resonance. A 
lowpass filter with a high Q emphasizes the frequencies around the cutoff 
frequency. The following chart shows how different amounts of Q affect 
the low-pass filter response. In terms of sound, frequencies around the 
cutoff tend to "ring" with high Q settings. If a filter with high Q is slowly 
swept back and forth, various overtones are "picked out" of the sound and 
amplified as the resonant peak sweeps over them. Bells and gongs are real 
world examples of sounds which have a high Q. 



m 

3 

■M 

"5. 

E 

< 




Frequency 



Mo'Phatt Operation Manual 103 



Programming Basics 
Dynamic Filters 



Another characteristic of a filter is the number of poles it contains. Tradi- 
tional synthesizer niters were usually either 2-pole or 4-pole niters. The 
Mo'Phatt has selectable 2, 4, and 6-pole low-pass filters. The number of 
poles in a filter describes the steepness of its slope. The more poles, the 
steeper the filter's slope and the stronger the filtering action. The tone 
controls on your home stereo are probably one-pole or two-pole niters. 
Parametric equalizers are usually either two-pole or three-pole niters. 

In terms of vintage synthesizers, Moog and ARP synthesizers used 4-pole 
filters, Oberheim and E-MU synthesizers were famous for their 2-pole filter 
sound. 



01 

-a 

3 





4-pole \ 




\6-pole ^ 


2-pole 


r 


\ Lowpass 


S. Lowpass 



Frequency 

Using a filter, we have a way to control the harmonic content of a sound. 
As it turns out, even a simple low-pass filter can simulate the response of 
many natural sounds. 

For example, when a piano string is struck by its hammer, there are initially 
a lot of high frequencies present. If the same note is played softer, there are 
fewer high frequencies generated by the string. We can simulate this effect 
by routing keyboard velocity to control the low-pass filter. The result is 
expressive, natural control over the sound. 

If you use an envelope generator to control the cutoff frequency of a filter, 
the frequency content can be varied dynamically over the course of the 
note. This adds animation to the sound as well as simulates the response of 
many natural instruments. 



104 E-MU Systems 



Programming Basics 
Dynamic Filters 



Parametric Filters 



A more complex type of filter is called a parametric filter or Swept EQ. A 
parametric filter allows control over three basic parameters of the filter. The 
three parameters are: Bandwidth, Frequency and Gain. The Bandwidth allows 
you to select the width of the range of frequencies to be boosted or cut, the 
Frequency defines the center frequency of the bandwidth, and the Gain 
parameter either boosts or cuts the frequencies within the selected band by 
a specified amount. Frequencies not included in the selected band are left 
unaltered. This is different from a band-pass filter which attenuates 
(reduces) frequencies outside the selected band. 



-18 dB 



Freq. 




Parametric 
Filter 



-18 dB 



Frequency 



The parametric filter is quite flexible. Any range of frequencies can be either 
amplified or attenuated. Several parametric sections are often cascaded in 
order to create complex filter response curves. 

If four parametric filter sections were cascaded, it would be possible to 
create the following complex filter response. 

4 Parametric Equalizers 




500 10,000 15,000 20,000 

Linear Frequency - Hertz 

Many natural instruments have complex resonances which are based on 
their soundboard or tube size. The resonance shown above would be impos- 
sible to create using a normal synthesizer filter. 



Mo'Phatt Operation Manual 105 



Programming Basics 
Dynamic Filters 



The Z-Plane Filter 



A Z-plane filter is a filter which can change its function over time. In a 
Z-plane filter, we start with two complex filter types and interpolate 
between them using a single parameter. See the following diagram. 




Morph 



Frequency 



The Z-plane filter has the unique ability to change its function over time. 



Filters A and B represent two different complex filters or "frames." 
Changing a single parameter, the Morph, changes many complex filter 
parameters simultaneously. Following along the Morph axis you can see 
that the filter response smoothly interpolates between the two filters. This 
is the essence of the Z-plane filter. Through the use of interpolation, many 
complex parameters are condensed into one manageable entity. 

Consider, as an example, the human vocal tract, which is a type of complex 
filter or resonator. There are dozens of different muscles controlling the 
shape of the vocal tract. When speaking, however, we don't think of the 
muscles, we just remember how it feels to form the vowels. A vowel is really 
a configuration of many muscles, but we consider it a single object. In 
changing from one vowel to another, we don't need to consider the 
frequencies of the resonant peaks. You remember the shape of your mouth 
for each sound and interpolate between them. 

This Z-plane filter sweep can be controlled by an envelope generator, an 
LFO, modulation wheels or pedals, keyboard velocity, key pressure, and so 
on. In fact, any of the modulation sources can control the Z-plane filter. 

Because creating the complex filtering is difficult and very time consuming, 
we have created 50 different filters and installed them permanently in ROM 
for your use. You simply select and use the niters in a manner similar to 
choosing an instrument. Because there are so many types of instruments 
and niters to choose from, the number of possible permutations is 
staggering. 



106 E-MU Systems 



Programming Basics 
Signal Flow 



Signal Flow 



Going back to the Signal Path diagram for a single channel we can 
reexamine the complete signal path. 



Instrument 

Sample 
Pitch Start 



w 


Z-Plane 
Filter 






W 


Freq Q 




r 


J 




, l 




Filter 
Envelope 




Velocity 




DCA 



Pan 



r\ 



>-R 



Volume 



Volume 
Envelope 



Instrument 

This is the sampled sound wave. The pitch of the instrument can be 
modulated by any modulation source. The sample start point can be 
changed only at the time the note is played. 

Z-Plane Filter 

The Z-Plane Filter is used to shape the harmonic content of an instrument. 
The filter envelope is commonly used to shape the harmonic content 
dynamically over time but the filter frequency can be modulated by any 
source. The Q parameter can be modulated only at note-on time. There are 
50 types of filters available. See "Mo'Phatt Filter Types" on page 133 for a 
complete list of the filters. 

Digitally Controlled Amplifier (DCA) 

Together with the Volume Envelope, the DCA is used to shape the volume 
contour of a sound. The DCA can be controlled by any modulation source. 
Velocity is often used as a modulation source for the DCA so that the harder 
you play the louder the sound becomes. 

Pan 

Adjusts the balance of sound to the left and right channels. Pan can be 
modulated by any modulation source. 



Mo'Phatt Operation Manual 107 



Programming Basics 
MIDI Channels & Real-time Controls 



MIDI Channels 
& 

Real-time 
Controls 



^> 



The following MIDI 
controls are automatically 
routed in Mo'Phatt: 



Pitch Wheel 


pwh 


Modulation Wheel 


01 


Old DX7 Aftertouch 


03 


Pedal 


04 


Volume 


07 


Pan 


10 


Expression 


11 



The MIDI real-time controllers may seem confusing at first, but they are 
really very simple once you understand them. You already know that there 
are 16 MIDI channels per MIDI cable. Each MIDI channel uses three basic 
types of messages; note on/off, preset changes, and continuous controller 
messages. Your MIDI keyboard, in addition to telling Mo'Phatt which note 
was played, can also send real-time control information, which simply 
means control occurring in real-time or "live." (You may be using a MIDI 
device other than a keyboard, but for simplicity's sake we'll presume that 
you are using a keyboard.) Real-time control sources include such things as 
pitch wheels or levers, modulation wheels or levers, control pedals and 
aftertouch and are used to add more expression or control. 

Your MIDI keyboard sends out real-time controller information on separate 
continuous controller numbers. There is a set of 32 continuous controller 
numbers for each MIDI channel. Some of the controllers, such as the 
modulation wheel, volume, and pan have standardized numbers. For 
example, volume is usually sent on continuous controller #7. Your 
keyboard may have other real-time controls such as a control pedal or data 
sliders which can also be programmed to control the Mo'Phatt. 



MIDI 
Channel 2 



MIDI 
Channel 1 






Note 
On/Off 












Program 
Change 










Continuous 
Controllers 







Note 
On/Off 



Program 
Change 



Continuous 
Controllers 



MIDI 
Channel 3 


• • • 




Note 
On/Off 












Program 
Change 










Continuous 
Controllers 







Cli 


MIDI 
lannel 16 




Note 
On/Off 












Program 
Change 














Continuous 
Controllers 









Any MIDI controller can be routed to any modulation destination. First, 
you have to know which controller numbers your keyboard transmits. Most 
modern MIDI keyboards let you select a controller number for each control 
on the keyboard. For example, it may let you select a number from 0-31 for 
the data slider. The realtime controller numbers that the keyboard 
transmits must match the numbers Mo'Phatt is receiving, otherwise 
nothing will happen when you move the controls. 

Suppose you wanted to send the four data sliders on your master keyboard. 
Mo'Phatt can handle 12 MIDI controllers (A-L) of your choosing. "MIDI A- 
L" are simply names for the internal connections that link external MIDI 
continuous controllers to the Patchcord section of Mo'Phatt. There are two 
parts to the connection. First, MIDI controller numbers are assigned to the 
letters A-L in the Master menu. Next, the letters A-L are connected to 
synthesizer control parameters in the Patchcord section of the Edit menu. 
The Patchcord Amount scales the amount of each controller by a positive 
or negative value. 



108 E-MU Systems 



Programming Basics 
MIDI Channels & Real-time Controls 



The factory presets have the MIDI A-L controls connected to standard 
synthesizer functions (marked on the front panel). By choosing any four of 
the 12 standard functions, the four sliders on your keyboard will work the 
same on every preset. The chart below shows how this might work if your 
keyboard transmitted the slider settings on MIDI controllers 21-24. 



Control 


MIDI Controller # 


Routing 


Standard Function 


Slider 1 


21 


A 




Controls Filter Frequency 


Slider 2 


22 


B 




Controls Filter Resonance 


Slider 3 


23 


C 




Controls Envelope Attack 


Slider 4 


24 


D 




Controls Envelope Release 




Patchcord Destinations 



Key Sustain 

Fine Pitch 

Pitch 

Glide 

Chorus Amount 

Sample Start 

Sample Loop 

Sample Retrigger 

Filter Frequency 

Filter Q 

Amplifier Volume 

Amplifier Pan 

Amplifier Crossfade 

Volume Envelope Rates 

Volume Envelope Attack 

Volume Envelope Decay 

Volume Envelope Release 

Filter Envelope Rates 

Filter Envelope Attack 

Filter Envelope Decay 

Filter Envelope Release 

Aux. Envelope Rates 

Aux. Envelope Attack 

Aux. Envelope Decay 

Aux. Envelope Release 

LFO 1 & 2 Rates 

LFO 1 & 2 Trigger 

Lag Processor 

Summing Amp 

Switch 

Absolute Value 

Diode 

Quantizer 

4x Gain 

Cord 1-24 Amount 



FXASend 1-4 
FXBSend 1-4 
Preset Lag In 
Preset Lag Amount 
Preset Ramp Rate _ 



Preset 
Cords 



MIDI A-L are internal connections which simultaneously carry front panel controller knob 
data and MIDI continuous controller data. 

The four controller knobs on the Mo'Phatt front panel work just like MIDI 
real-time controllers. The four controller knobs are permanently assigned to 
controllers A-L. Pressing the control button adjacent to the row of knobs 
selects A-D, E-H or I-L functions for the knobs. The front panel knob (A-L) 
and incoming MIDI controller messages assigned to that letter, both 
control the same parameter that you select in the Patchcord screen. 



Mo'Phatt Operation Manual 109 



Programming Basics 
MIDI Channels & Real-time Controls 



Bank Select 
Commands 



% 



When you press the 
Audition button, the Bank Select 
MSB and LSB are displayed on 
the top line of the display. 



When the original MIDI specification was developed, synthesizers had only 
8 to 40 preset locations. At that time being able to select up to 128 presets 
didn't seem like much of a limitation. So it was that the original MIDI 
specification provided for the selection of up to 128 presets. 

Musicians screamed for MORE and so the MIDI specification was later 
amended to include Bank Select Commands. It was decided that Bank 
Select Commands would use Continuous Controllers and 32 to allow the 
selection of up to 16,384 banks of 128 presets (over two million presets). 

Because Bank Selects are implemented using Continuous Controllers, the 
Bank Selections can be made per channel. (This is getting better and better.) 
For each MIDI channel, you can select any of 16,384 banks and then one of 
the 128 presets in the bank. Of course no synthesizer has 16,384 banks 
(yet), but hey, it's nice to know it's possible (for that really BIG project). 

Continuous Controller (CC) is the MSB (most significant byte) and CC 32 
is the LSB (least significant byte). Normally you send both the MSB and LSB 
controllers to implement a bank change. 

Mo'Phatt remembers the MSB and the LSB that were last sent (or last 
changed from the front panel). For example, if you have already set the 
Bank MSB to 04, you need only send the LSB to change banks within the 
Mo'Phatt sound set. See the MIDI Bank Select chart below. 

The selected bank remains selected until you change it (either via MIDI or 
by changing the bank from the front panel). Standard MIDI Program 
Change commands select from 128 presets within the selected bank. 



MIDI BANK SELECT 




MSB 


LSB 






ccOO 


cc32 




USER 


00 


00 


BankO 


USER 


00 


01 


Bankl 


USER 


00 


02 


Bank 2 


USER 


00 


03 


Bank 3 


PHATT 


13 


00 


BankO 


PHATT 


13 


01 


Bankl 


PHATT 


13 


02 


Bank 2 


PHATT 


13 


03 


Bank 3 



110 E-MU Systems 



Programming Basics 
Stereo Mix Outputs 



Stereo Mix 
Outputs 



This feature is useful for adding signal processing (EQ, reverb, etc.) of 
individual sounds prior to final mixdown. 

The routing can be performed according to MIDI channel from the Mix 
Output screen in the Master menu. Simply assign each channel to the 
desired output. 



Master 
Menu 



MIX OUTPUT 
channel 01: Send 2 



To route a particular preset to a Send, first go to the Mix Output screen in 
the Master menu and set the MIDI channel to "Preset". 



Master 
Menu 



MIX OUTPUT 
channel 01: Preset 



Next set the Mix Output routing in the preset to the desired output (for 
each layer). Yes, you can send each layer to a different send if you want. 



Edit 
Menu 



L1 MIX OUTPUT 
Send 2 



By sending different amounts of presets to the effects, subtle or striking 
effects can be achieved using the two effect processors. This feature allows 
you to get the most out of two effects since you can have eight different 
mixes. 

For more information, refer to the diagram on the following page or, See 
"Mix Output" on page 67. 



Mo'Phatt Operation Manual 111 



Programming Basics 
Stereo Mix Outputs 



OUTPUT SECTION 
& EFFECTS PROCESSORS 



PRESET 
EDIT MENU 



Mix 
Output 

Send 1 



Mix Output 

PRESET 



S 
E 

N|=(f 

D 

1 



FX Sends 



HSend 1 15%1 



Hall 1 



i send2io% i Effect 

| Send 3 0%"| 

| Send 4 0%~j ** 



* 



B *A 



FX Sends 

^Sendl 0%] 



Chorus 



^^ Effect 

. I Send 3 20%| _ 

— D 

| Send 4 15%] 




MASTER MENU 



The Mix Output screen in the Master menu assigns each MIDI channel to a 
Send (1-4) or to "Preset". 

The Mix Output screen in the Edit menu is ONLY used if the Master Mix 
Output is set to "Preset". Otherwise the Edit menu Mix Output settings are 
ignored. 



112 E-MU Systems 



Edit Menu 



^ 



While the Edit menu is 
activated, all incoming MIDI 
preset changes on the selected 
channel are ignored. 



&6 

If there is no "A" option 
in the Layer field, you must 
enable the "Edit All Layers" 
function in the Master Menu. 



The Edit Menu contains four layers of preset parameters that you can 
modify and then save as preset information in one of the user preset 
locations. 

There are four instrument layers in the Edit menu. See the illustration on 
page 115 for a description of the Preset Layer model. 

► To Access the Edit Menu 

Press the Edit button, lighting the LED. The Edit Menu screen displays the 
menu page most recently selected since powering up Mo'Phatt. The cursor 
appears below the first character of the screen heading on line one. 



► To Scroll through Layers 

Place the cursor below the layer field. Rotate the Data Entry Control to 
select a layer (1-4). 

You can also select All Layers by choosing "A" in the layer field. When All 
Layers is selected, the existing parameter value for any field will be 
displayed if the values of all four layers are equal. If the values of all four 
layers are NOT equal, the value of layer 1 will be displayed with flashing 
characters. If you change the parameter value, all layers will assume the 
new value and the display will stop flashing. 



► To Scroll through Pages 

Place the cursor below the page title field. This will automatically be done 
when you press the Home/Enter button. Rotate the Data Entry Control to 
scroll through the pages. 

► To Change a Parameter 

Place the cursor below the parameter field. Rotate the Data Entry Control to 
change the parameter value. 



Mo'Phatt Operation Manual 113 



Edit Menu 



Preset Name 



The Preset names consists of two parts: a 3 letter preset category and a 12 
letter preset name. Position the cursor under the character location and use 
the data entry control to change the character. 

The preset category is used in conjunction with the Sound Navigator 
feature. Using the Sound Navigator, a category is selected and the presets in 
that category are listed in alphabetical order. Creating categories makes it 
easier to find specific sounds when you need them. For more information 
on Sound Navigator, see Sound Navigator in Chapter 2: Operations. 



PRESET NRME 

000 1 syn: VOSIM-Voc 



The keyboard can also be used to select character. The charts below show 
the keyboard character assignments. 

B IN UZ af mr y -> 



m 



\m 





C 


C# 


D 


D# 


E 


F 


F# 


G 


G# 


A 


A# 


B 


-2 












blank 


! 


It 


# 


$ 


% 


& 


-1 


1 


( 


) 


* 


+ 


/ 


- 




/ 





1 


2 





3 


4 


5 


6 


7 


8 


9 




; 


< 


= 


> 


1 


? 


@ 


A 


B 


C 


D 


E 


F 


G 


H 


I 


J 


2 


K 


L 


M 


N 


O 


P 


Q 


R 


S 


T 


U 


V 


3 


W 


X 


Y 


Z 


[ 


¥ 


] 


A 


_ 


- 


a 


b 


4 


c 


d 


e 


f 


9 


h 


i 


i 


k 


1 


m 


n 


5 


o 


P 


q 


r 


s 


t 


u 


V 


w 


X 


y 


z 


6 


{ 


1 


} 


-► 


<- 

















II II III II III II III II III II 



b& + 05 : ?DJOTY A chnsx} 
I" ' , 2 7 < A F K P V [ ~ e j o t z <• 
a$ ) . 38>CHMRW¥bg I qv { 
n 

k 



Pitch 



Octave 



114 E-MU Systems 



Edit Menu 
Four Layer Architecture 



Four Layer 
Architecture 



Selecting Layers 



Mo'Phatt provides a 4 layer instrument structure. Each layer is a complete 
synthesizer voice with 50 filter types, over 64 modulation sources, more 
than 64 modulation destinations and 24 patchcords to connect everything 
together. In addition, the four layers can be crossfaded or switched by key 
position, velocity or any real-time modulation source. 



Layer 1 



Instrument Z-Plane Filter 



V*x 




DCA 



Pan 



^►R 



^►L 



Layer 2 





Instrument 


Z-Plane Filter 






Hg£ 


w 




wm 




T^#\ 




DCA>— 


W 














► 



Layer 3 





Instrument 


Z-Plane Filter 






*S( 


-+■ 




WAA/ 




V^#\ 




DCA>— 














— ► 



Layer 4 





Instrument 


Z-Plane Filter 






*S( 


w 




wm 




Vv\ 




DCA>" 


r 














1 — ► 



In most of the Edit screens, the selected layer is shown in the upper left 
corner of the display. Layers 1-4 or All can be selected by positioning the 
cursor on this field and using the Data Entry Control to change the layer. In 
the screen shown below, Layer 1 is selected. 



LI 



INSTRUMENT 



R0M:PHRTT 



0305 bas:Moog Sub 



When "All Layers" (A) is selected, the existing parameter value for any field 
will be displayed if all layers are equal. If the layer parameter values are 
NOT equal, the value of Layer 1 will be displayed with flashing characters. 
If you move the Data Entry Control all values will be equal to this new 
value and the parameter value will no longer flash. 



Mo'Phatt Operation Manual 115 



Edit Menu 
Defining Layer Parameters 



Defining 

Layer 

Parameters 



Selecting an 
Instrument 



The Edit menu parameters define the four layers and include the 
instrument assigned to the layer, the ranges of the layer, tuning, envelopes, 
filters, and patch cords. These parameters are defined for each layer on an 
individual basis (based on the currently selected layer). See "Common 
Preset Parameters" on page 146 for global preset settings. 

The Instrument parameter defines which of the available instrument 
sounds is played by the current layer. 



ROM SIMM Name 



L1 INSTRUMENT 



ROM: PHRTT 



0078 bas : Booty Q 2 
- V = 



T 



Instrument Category 



Instrument Name 



To select an instrument for the selected layer(s), move the cursor to the 
bottom line of the display and change the instrument using the Data Entry 
Control. 



Sound Navigator 

Sound Navigator also works to help select Instruments although the 
category names are predefined. When the cursor is on the Instrument 
Category field, turning the Data Entry Control selects different instrument 
categories. The Name Field will change to show the first instrument in each 
category. Move the cursor to the instrument name to select instruments in 
the selected category. 



L1 INSTRUMENT 



ROM: PHRTT 



0078 bas : Booty Q 2 
= V 



T 



1. Choose Category x 

2. Scroll through Instruments 

Selecting Categories of Instruments using Sound Navigator. 



116 E-MU Systems 



Edit Menu 
Defining Layer Parameters 



Defining Key Range 



The Key parameter defines the range on the keyboard used by the current 
layer. The Key range is from C-2 through G8. 



Middle C 

i 

i 

C-2 C-1 CO CI C2 C3 C4 CS C6 C7 C8 G8 





To define the range, set the low key value and the high key value. 

You can select key numbers by simply pressing the desired keyboard key 
when the cursor is positioned on the low or high key field in the display. 



Fade In 



Fade Out 



LI 



KEY: 



LD 
C-2 



FRDE 
000 



HIGH 
C2 



FRDE 
012 



Layers can be crossfaded according to key position by adjusting the Low 
and High Fade parameters. The first Fade field determines how many 
semitones it takes the layer to Fade In from the low key. The second Fade 
field determines how many semitones it takes the layer to Fade Out to the 
high key. The screen shot above and the diagram below show Layer 1 being 
faded out over a one octave range. 



C-2 



C8 G8 




Layer 4 



With a High Fade value of zero (as in layer 3 of the diagram), the layer 
simply switches off at the high key. 



Mo'Phatt Operation Manual 117 



Edit Menu 
Defining Layer Parameters 



^ 



You can select key 
numbers by simply pressing the 
desired keyboard key when the 
cursor is positioned on the low 
or high key field n the display. 



► To Switch Layers According to Key Position 

The Key Range parameter allows you to create a "split" keyboard with up to 
four sounds adjacent to each other on the keyboard. This is shown in the 
diagram below. 



CO 

I 



CI 

I 



C2 



C3 

I 



C4 



C5 

I 



C6 

I 



Layer 1 



Layer 2 



Layer 3 



Layer 4 



Switch 



Switch 



Switch 



Just assign the low and high key range for each of the four layers with Fade 
set to zero. Set the Low and High Keys so they don't overlap other layers. 





L1 KEY: 


LO 

co 


FRDE 
000 


HIGH 
F1 


FRDE 
000 






L2 KEY: 


LO 
F#l 


FRDE 
000 


HIGH 
C3 


FRDE 
000 






L3 KEY: 


LO 
C#3 


FRDE 
000 


HIGH 
F#M 


FRDE 
000 






LM KEY: 


LO 
GM 


FRDE 
000 


HIGH 
C6 


FRDE 
000 





If two layers do overlap, both will play as shown in the next example. 



118 E-MU Systems 



Edit Menu 
Defining Layer Parameters 



► To Stack Layers 

If the ranges of two or more Layers overlap it is called stacking layers. All 
Layers assigned to a key sound when the key is played. This is shown in the 
following diagram. It's very easy to stack layers. Simply duplicate the key 
ranges for any layers you want to stack. 



CO 

I 



CI 

I 



C2 

l 



C3 

l 



C4 



C5 

I 



C6 

l 





Layer 1 
Layer 2 



LI 



KEY: LO 
CO 



FRDE 
000 



HIGH 
C6 



FRDE 
000 



L2 KEY: LO FRDE HIGH FRDE 
CO 000 C6 000 



Mo'Phatt Operation Manual 119 



Edit Menu 
Defining Layer Parameters 



Defining the Velocity 
Crossfade Range 



Velocity is a measure of how hard the key is pressed. Velocity Range lets you 
control the volume of the layers using velocity Using this function you can 
crossfade or cross-switch between layers according to how hard you play 
the keyboard. 

Set the velocity range of the layer by defining the high and low velocity 
values. Values range from (off) to 127 (hardest). 




The Fade fields define the velocity crossfade range for the currently selected 
layer. The first Fade field defines the Fade In range for the low velocity 
value. The second defines the Fade Out range for the high velocity value. 



Velocity 



127 




Switch 



With soft playing, Layer 1 sounds. As you play harder, Layer 1 gradually fades out and 
Layer 2 fades in. When the keyboard is played hard, Layer 3 plays. 



120 E-MU Systems 



Edit Menu 
Defining Layer Parameters 



► To Set Up a Velocity Crossfade Between Layers 

Set the velocity fades so that layer 1 fades out with higher key velocity, 
while layer 2 fades in. At a velocity of 64, the two sounds are equal volume. 
You may want to adjust the fade in and fade out points to achieve a natural 
sounding crossfade. These parameters vary depending on the sounds. 



Increasing Velocity 




127 



Layer 1 



Layer 2 



LI 



VEL: LO 
000 



FRDE 
000 



HIGH 
127 



FRDE 
127 



L2 VEL: LO FRDE HIGH FRDE 
000 127 127 000 



Mo'Phatt Operation Manual 121 



Edit Menu 
Defining Layer Parameters 



Defining the 
Real-time Crossfade 
Range 



The Real-time Crossfade window lets you control the volume of the four 
layers using a real-time controller such as a front panel knob, a pedal or an 
LFO or Envelope generator. The controller is denned by the Patchcord 
parameter (see "Patchcords" on page 142). 

The Fade fields define the crossfade range in velocity for the currently 
selected layer. The first Fade field defines the Fade In amount for the low 
Real-time Control value. The second defines the Fade Out amount for the 
high Real-time Control value. The Fade value range is from to 127. 



Realtime Control Value 



127 




Layer 1 



Switch 



After the Ranges and Fades have been adjusted for each layer in the Real- 
time Crossfade screen, you must assign a real-time controller to RTXfade 
(Real-time Crossfade) on each Layer in the Patchcord screen. Set the 
Patchcord Amounts to +100. 



► To Set Up a Real-time Crossfade Between Two Layers 

As the real-time control (knob, pedal, LFO, etc.) is increased, Layer 1 fades 
out as Layer 2 fades in. This example only uses two of the possible four 
layers. Refer to the screen diagrams below. 





L1 RT: LO 
000 


FRDE 
000 


HIGH 
127 


FRDE 
127 








L2 RT: LO 
000 


FRDE 
127 


HIGH 
127 


FRDE 
000 





1. Select a preset. 

2. Press the Edit button to access the Edit menu. 

3. Go to the Instrument page and select instruments for Layers 1 and 2. 



122 E-MU Systems 



Edit Menu 
Defining Layer Parameters 



4. Press Enter, then use the Data Entry Control to advance to the Real- 
time Crossfade page. 

5. Define the High and Low range of each Layer. In this example the entire 
range of 0-127 is used. 

6. Define the Fades for each Layer. This is just an initial setting. The Range 
and Fade parameters may have to be adjusted later to get a smooth 
crossfade. 

7. Press Home/Enter and use the Data Entry Control to advance to the 
Patchcord page. Select Layer 1. 

8. Select the modulation source for the crossfade (knob, pedal, LFO, 
Envelope) and set the destination to RTXfade. Set the Cord Amount to 
+100. 

9. Select Layer 2. Select the same source and destination for the crossfade 
and set the Cord Amount to +127. 



L1 PRTCHCORD 

MidiR -> RTXfade 



#01 
+100 



10. Play the keyboard while adjusting the real-time controller. Go back to 
the Real-time Crossfade screens to fine tune the crossfade if necessary. 
Decreasing the fade size will narrow the region where both layers are 
sounding. 



► To Randomly Cross- Switch Between Four Layers 

In certain situations, you may want to switch between several layers 
randomly. Crossfade Random is a modulation source specifically designed 
to handle this situation. Unlike the other random sources, Crossfade 
Random generates one random number for all layers each time a key is 
pressed. 

To set up a four layer Cross-Switch, simply assign each of the four layers to 
a different Real-time Crossfade range, then assign XfdRnd to RTXfade in 
the Patchcords for each layer. 



Realtime Control Value 





32 48 64 80 96 112 127 

Layer 2 Layer 3 Layer 4 

Switch Switch Switch 



Mo'Phatt Operation Manual 123 



Edit Menu 
Defining Layer Parameters 



1. Press the Edit button to access the Edit menu. 

2. Go to the Instrument screen and select Instruments for Layers 1 
through 4. 

3. Press Enter, then use the Data Entry Control to advance to the Real- 
time Crossfade page. 





LI 


RT: 


LO 
000 


FRDE 
000 


HIGH 
031 


FRDE 
000 








L2 


RT: 


LO 
032 


FRDE 
000 


HIGH 
063 


FRDE 
000 








L3 


RT: 


LO 
064 


FRDE 
000 


HIGH 
095 


FRDE 
000 








LM 


RT: 


LO 
096 


FRDE 
000 


HIGH 
127 


FRDE 
000 





4. Define the High and Low range of each Layer as shown above. 

5. Press Home/Enter and use the Data Entry Control to advance to the 
Patchcord page. Select Layer 1. 

6. Select XfdRnd as the modulation source and RTXfade as the desti- 
nation. Set the Cord Amount to +100. 

7. Repeat step 6 for the remaining three layers. 



124 E-MU Systems 



Edit Menu 
Defining Layer Parameters 



Transposing the 
Instrument 



L1 PRTCHCORD 
XfdRand -> RTXfade 



#01 
+100 



8. That's it! Now set each Layer up the way you want. Try radically 

different instruments, filter settings, or tunings. Or you can make each 
layer just slightly different for a more natural effect. Try adjusting the 
Fades or overlapping the ranges if you want more than one layer to play 
at once. 



The Transpose parameter lets you transpose the key of the current layer's 
Instrument. Transpose works by shifting the keyboard position in semitone 
intervals relative to middle C. Use this parameter to transpose different 
layers apart by semitone intervals. For example, by transposing one layer by 
+7 semitones, it will track other layers at a perfect fifth interval. 



C-2 



c-i 



CO 



ci 



C2 



C3 



C4 



C5 



C6 



C7 



C8 G8 



The range of transposition is -36 to +36 semitones. 



L1 JRRNSPOSE 
+36 semitones 



Mo'Phatt Operation Manual 125 



Edit Menu 
Defining Layer Parameters 



Tuning 



Amplifier 



The Tuning parameter changes the pitch of the key in semitone and 1/64 
semitone intervals. 



L1 TUNING 
Coarse: +36 



Fine: 



+63 



Use the Coarse field to shift the tuning by semitone intervals. Use the Fine 
field to shift tuning by 1/64 semitones (or 1.56 cents) intervals. 



Background: Transpose vs. Coarse Tuning 

Transpose works by shifting the keyboard assignment of the Instrument (as 
if you were sliding the keyboard up and down with the Instrument 
remaining in the same position). Coarse Tuning keeps the instrument 
placement on the keyboard and actually tunes the samples up using a 
digital process called interpolation. Use Course Tuning on drum instru- 
ments to change the pitch while keeping sample placement constant. 
Coarse Tuning can also be useful to slightly change the timbre of the 
instrument. 



This parameter sets the initial volume and pan position of the current layer. 
These values can be changed using any Real-time Controller set up in the 
Patchcords. The value range for the volume is from -96 dB to +10 dB. dB 
is the default setting. Routinely turning the volume up to +10 dB is not 
recommended because it doesn't allow other modulation sources to 
increase the volume further. 



L1 RMPLIFIER 
Volume: +10dB 



Pan: M8l 



This field determines the initial Pan value for the current layer. The value 
range for Pan is from 64L to (left) and to 63R (right). Pan adjusts the 
volume into the left and right output channels relative to the Pan setting in 
the main Preset Select screen (see "Channel Pan" on page 32). So, if you, for 
example, set the Pan value in the Preset Select screen to 64L and set this 
Pan value to 63R, the actual pan amount would be as these two pan 
parameters are relative to each other. 



126 E-MU Systems 



Edit Menu 
Defining Layer Parameters 



Volume Envelope 



x 



Factory Mode is useful 
for Instruments containing 
multiple drums, since each drum 
can have its own envelope 
settings. 



<5>& 

If two adjacent segments 
have the same level in a "time- 
based" envelope, the segment 
will be skipped. Adjacent 
segments must have different 
levels for the rate control to 
work. 



% 



See "Base Tempo 
(Master Clock)" on page 36. 



An envelope can be described as a "contour" which is used to shape the 
sound over time. The Volume Envelope controls the volume of the sound in 
the current layer over time. The way the volume of a sound evolves has a 
profound effect on how we perceive the sound. 

Each instrument has its own Factory preset Volume Envelope setting. The 
Volume Envelope allows you to program your own envelope settings. 



Selecting the Mode 

The Mode field determines whether the layer will use the instrument's 
default envelope (Factory) or use the user-programmed Volume Envelope. 
There are three mode options and repeat. 

• Factory: Uses the factory preset envelope contained in each instrument. 
If you select the "Factory" mode, the Volume Envelope parameters are 
disabled and the factory defined settings are used instead. 



L1 VOLUME ENVELOPE 
Mode: factory 



• Time-based: Defines the Volume Envelope rates from to 127 (approxi- 
mately 1 ms to 160 seconds). The Master clock has no affect on time- 
based rates. 

• Tempo-based: The Volume Envelope times vary based on the master 
tempo setting. Note values are displayed instead of a number when the 
time corresponds to an exact note value. Tempo-based envelopes are 
useful when using external sequencers and arpeggiators because the 
envelope rates compress and expand according to the Master Clock set- 
ting, keeping the envelopes in sync with the sequence or arpeggio. 



Tempo-Based Envelopes 




■ = Initial Setting 

= Increase Master Tempo 

■ = Decrease Master Tempo 

Tempo-based envelope rates change according to the Master Clock rate. 



Mo'Phatt Operation Manual 127 



Edit Menu 
Defining Layer Parameters 



S*> 



See the Programming 
Basics section of this manual for 
detailed information about how 
the Envelopes work. 



&6 

If the Release 2 level is 
set at a value other than zero, 
the note will continue to sound 
after the key is released. This 
might be useful for drone effects, 
but the channel won't stop 
sounding until all channels are 
used up. 



Defining the Volume Envelope 

The Volume Envelope controls the volume of the layer over time. The 
Volume Envelope has six stages to the contour: Attack 1, Attack 2, Decay 1, 
Decay 2, Release 1 and Release 2. When a key is pressed, the Envelope goes 
through the first four stages. If you continue to hold down the key the 
envelope holds at the Decay 2 level. When the key is released, the envelope 
continues through the Release stages ending at the Release 2 level. 



L1 VOLENV 
Rttack 1 



RRTE 
84 



LEVEL 
100% 



As soon as the Attack 1 level is reached, the Attack 2 phase begins. When 
the Attack 2 Level is reached, the Decay 1 phase begins. When the key is 
released, the envelope immediately jumps to the Release 1 stage, then the 
Release 2 stage finally ending at the Release 2 level. 

If you have selected the factory mode, the Volume Envelope parameter 
screen looks like the following illustration. 



L1 VOLENV RRTE 

(using factory envelope) 



LEVEL 



t 

level 



time 




Key Down 



Key Released 



On the Volume Envelope, levels can only be set to positive values. 
The value range is from to +100. 



128 E-MU Systems 



Edit Menu 
Defining Layer Parameters 



Chorusing the Layer 

^^ WARNING: Because it 
works by doubling instruments, 
Chorusing halves the number of 
notes you can play. 



Sound Start Offset 
and Delay 



Chorusing "thickens" the sound by doubling the sound in stereo and then 
detuning it. Every layer with chorus turned on uses twice the polyphony 
for that layer. 



L1 CHORUS 
off 



WIDTH 
100% 



The first field in this screen turns Chorus On or Off and allows you to adjust 
the amount of detuning (1 to 100%). The Width parameter controls the 
stereo spread. 0% reduces the chorus to mono and 100% provides the most 
stereo separation. 



Sound Start sets where the instrument begins playing when you hit a key. 
Setting the Start Offset amount to "0" plays the sample from the beginning. 
Higher values move the Sample Start Point further into the sample toward 
the end. There is also a Patchcord source which can be used to change the 
Sound Start point at note-on time. 



L1 SOUND 



STRRT 
127 



DELRY 
127 




Controlling the Sound Start using Key Velocity (< Amt -) brings in the attack of the wave 
only when you play hard. This is especially effective with percussion instruments. 

Delay defines the time between when you hit a key (note-on) and the onset 
of the current layer's note and the start of the envelopes (if applicable). 
Delay values below zero are Tempo-based values, meaning the time is based 
on the Base Tempo (Master Clock) setting. Note values are displayed by 
adjusting the Delay Time value below zero. The sound will be delayed by 
the selected note value based on the master clock. 



Mo'Phatt Operation Manual 129 



Edit Menu 
Defining Layer Parameters 



Non-Transpose 
Mode 



Solo Mode 



\ 



In order to define a 
monophonic glide (see the 
Portamento parameter), you 
must be in Solo mode. 



This function turns keyboard transposition On or Off for the current layer. 
With Non transpose "on," the keyboard will not control the pitch of the 
instrument. This is a useful function for drones, attack "chiffs," or other 
sound effects which you may not want to track the keyboard. 




Provides the playing action of a monophonic instrument such as a lead 
synthesizer by preventing more than one note from sounding at once. 
There are eight different solo modes provided. Try setting up different 
layers with different solo mode and glide rates or combine solo mode with 
polyphonic playing modes. 



L1 SOLO MODE 
synth (low) 



The Solo modes are: 

Multiple Trigger: Last note priority. No key-up action. Retriggers 
envelopes and samples when a key is pressed. 

Melody (last): Last note priority. No key-up action. 

First solo note: Envelopes start at Attack segment from zero. Samples 
start at the beginning. 

If previous note is releasing: Envelopes start at Attack segment, but from 
current level. Samples start at the beginning. 

When playing "Legato": Envelopes continue from current segment and 
level. Samples start at the loop or the beginning if unlooped. 

Melody (low): Same as Melody (last), but with low note priority. Newly 
played keys which are higher than the lowest solo key held do not sound. 

Melody (high): Same as Melody (last), but with high note priority. Newly 
played keys which are lower than the highest solo key held do not sound. 

Synth (last): Similar to Melody (last) but this mode has key-up action. 
When you release the currently sounding solo key while holding other keys 
down, the highest held solo key sounds in a Legato fashion. 



130 E-MU Systems 



Edit Menu 
Assign Group 



Synth (low): Same as Synth (last) but with low note priority When you 
release the currently sounding solo key while holding other keys down, the 
lowest held solo key sounds in a Legato fashion (MiniMoog). 

Synth (high): Same as Synth (last) but with high note priority When you 
release the currently sounding solo key while holding other keys down, the 
highest held solo key sounds in a Legato fashion. 

Fingered Glide: Same as Synth (last), except that Glide is disabled when 
playing Staccato, enabled when playing Legato. 



Assign Group 



Use the Assign Group parameter to assign a certain number of channels to 
each layer. By assigning all voices in the preset to assign groups, important 
parts are protected from being "stolen" by more recently played keys. Or 
you can assign a voice, such as an open high hat, to a mono channel so it is 
cancelled by a closed high hat on the same mono channel. Layers rotate 
within their assigned "bin" of channels, not interfering with other bins. 



L1 R55IGN GROUP 
poly all 



The modes are: 

Poly All: Notes are played polyphonically with dynamic channel 
assignment using all 64 channels. 

Poly 16 A-B: Two bins of 16 channels each. Notes are played polyphoni- 
cally with dynamic channel assignment using no more than 16 channels. 

Poly 8 A-D: Four bins of 8 channels each. Notes are played polyphonically 
with dynamic channel assignment using no more than 8 channels each. 

Poly 4 A-D: Four bins of 4 channels each. Notes are played polyphonically 
with dynamic channel assignment using no more than 4 channels each. 

Poly 2 A-D: Four bins of 2 channels each. Notes are played polyphonically 
with dynamic channel assignment using no more than 2 channels each. 

Mono A-l: Nine monophonic channels, Any layers assigned to the same 
letter interrupt each other without affecting other layers. 



Mo'Phatt Operation Manual 131 



Edit Menu 
Glide 



Glide 



Z-Plane Filters 



Glide creates a smooth transition from one note to the next instead of the 
normal instantaneous change in pitch when a new key is pressed. This 
effect is commonly heard on slide guitars, synthesizers and violins. 



L1 GLIDE RRTE 
0.000 sec/oct 



CURVE 
linear 



The Glide Rate parameter defines the time it takes to glide to the new pitch 
(the larger the value, the slower the glide rate) The glide rate value range is 
from through 32.738 seconds (zero means off). 

The Glide Curve describes how the glide accelerates as it slides between 
notes. Because of the ear's non-linear response to pitch, a linear glide 
sounds slow at the beginning and speeds up toward the end. Exponential 
curves actually sound smoother and more linear. Eight exponential curves 
are provided. Choose one that suits your style. 




Last 


New 


Last 


New 


Last 


New 


Note 


Note 


Note 


Note 


Note 


Note 



Glide can be either polyphonic or monophonic depending of the state of 
Solo Mode. 



A filter is a device which changes the output of a signal (sound) by 
removing certain elements of the signal based on the frequency and 
amplitude. The "Order" of a filter defines the number of filter elements it 
contains. The more elements, the more complex the filter. 

Mo'Phatt contains 50 different types of E-MU's celebrated Z-plane filters. In 
addition to the standard Low pass, High pass and Band pass filters, 
Mo'Phatt contains Swept Octave Equalizers, Phasers, Flangers, Vocal 
Formant Filters, and digital models of classic synthesizer niters. 

In the filter chart below you will notice that the "Order" of the filters varies 
from 2 to 12 order. Higher order filters have more sections and can produce 
more complex formants. Mo'Phatt can produce 64 niters of up to 6th order 
or 32 filters of 12th order complexity. Therefore, if you decided to use all 



132 E-MU Systems 



Edit Menu 
Mo'Phatt Filter Types 



Mo'Phatt Filter 
Types 



Filter Types 

LPF Low-pass filter 

PHA Phaser 

HPF High-pass filter 

FLG Flanger 

BPF Band-pass filter 

VOW Vowel/ formant 

EQ+ EQ boost 

EQ- EQ cut 

SFX Special Effect 



12th order filters, Mo'Phatt would be limited to 32 voices. See page 101 for 
more information about filters. 

This screen allows you to choose the type of filter for the current layer. 



L1 FILTER 
Phazer 2 EM 



Ord 
6 



Type 
PHR 



Filter Name Order Type 

Smooth 02 LPF 



Classic 



Steeper 



04 



06 



LPF 



LPF 



MegaSweepz 


12 


LPF 


EarlyRizer 


12 


LPF 


Millennium 


12 


LPF 


KlubKlassik 


12 


LPF 


BassBox-303 


12 


LPF 


Shallow 


02 


HPF 


Deeper 


04 


HPF 


Band-passl 


02 


BPF 


Band-pass2 


04 


BPF 


ContraBand 


06 


BPF 


Swept 1>1 oct 


06 


EQ+ 


Swept2>loct 


06 


EQ+ 



Description 

Typical OB type low-pass filter with a shal- 
low 12 dB/octave slope. 

4-pole low-pass filter, the standard filter on 
classic analog synths. 24 dB/octave rolloff. 

6-pole low-pass filter which has a steeper 
slope than a 4-pole low-pass filter. 
36 dB/octave rolloff! 

"Loud" LPF with a hard Q. Tweeters beware! 

Classic analog sweeping with hot Q and 
Lo-end. 

Aggressive low-pass filter. Q gives you a 
variety of spiky tonal peaks. 

Responsive low-pass filter sweep with a 
wide spectrum of Q sounds 

Pumped up lows with TB-like squelchy Q 
factor. 

2-pole high-pass filter. 12 dB/octave slope. 

Classic 4-pole high-pass filter. Cutoff sweep 
progressively cuts 4th Order High-pass. 

Band-pass filter with 6 dB/octave rolloff on 
either side of the passband and Q control. 

Band-pass filter with 12 dB/octave rolloff 
on either side of the passband and Q con- 
trol. 

A novel band-pass filter where the fre- 
quency peaks and dips midway in the fre- 
quency range. 

Parametric filter with 24 dB of boost or cut 
and a one octave bandwidth. 

Parametric filter with 24 dB of boost or cut. 
The bandwidth of the filter is two octaves 
wide at the low end of the audio spectrum, 
gradually changing to one octave wide at 
the upper end of the spectrum. 



Mo'Phatt Operation Manual 133 



Edit Menu 
Mo'Phatt Filter Types 



Filter Name Order Type 

Swept3>loct 06 EQ+ 



DJAlkaline 


12 


EQ+ 


AceOfBass 


12 


EQ+ 


TB-OrNot-TB 


12 


EQ+ 


BolandBass 


12 


EQ+ 


BassTracer 


12 


EQ+ 


RogueHertz 


12 


EQ+ 


RazorBlades 


12 


EQ- 


RadioCraze 


12 


EQ- 


AahAyEeh 


06 


VOW 



Ooh-To-Aah 06 



VOW 



MultiQVox 


12 


VOW 


Ooh-To-Eee 


12 


VOW 


TalkingHedz 


12 


VOW 


Eeh-To-Aah 


12 


VOW 


UbuOrator 


12 


VOW 


DeepBouche 


12 


vow 


PhazeShiftl 


06 


PHA 



PhazeShift2 06 PHA 

FreakShifta 12 PHA 

CruzPusher 12 PHA 



Description 

Parametric filter with 24 dB of boost or cut. 
The bandwidth of the filter is three octaves 
wide at the low end of the audio spectrum, 
gradually changing to one octave wide at 
the upper end of the spectrum. 

Band accentuating filter, Q shifts "ring" 
frequency. 

Bass-boost to bass-cut morph 

Great Bassline "Processor." 

Constant bass boost with mid-tone Q 
control. 

Low Q boosts bass. Try sawtooth or square 
waveform with Q set to 115. 

Bass with mid-range boost and smooth Q. 
Sweep cutoff with Q at 127. 

Cuts a series of frequency bands. 
Q selects different bands. 

Band limited for a cheap radio-like EQ 

Vowel formant filter which sweeps from 
"Ah" sound, through "Ay" sound to "Ee" 
sound at maximum frequency setting. Q 
varies the apparent size of the mouth cav- 
ity. 

Vowel formant filter which sweeps from 
"Oo" sound, through "Oh" sound to "Ah" 
sound at maximum frequency setting. 
Q varies the apparent size of mouth cavity. 

Multi-Formant, Map Q To velocity. 

Oooh to Eeee formant morph. 

"Oui" morphing filter. Q adds peaks. 

"E" to "Ah" formant movement. 
Q accentuates "peakiness." 

Aah-Uuh vowel with no Q. Raise Q for 
throaty vocals. 

French vowels! "Ou-Est" vowel at low Q. 

Recreates a comb filter effect typical of 
phase shifters. Frequency moves position of 
notches. Q varies the depth of the notches. 

Comb filter with slightly different notch 
frequency moving the frequency of notches. 
Q varies the depth of the notches. 

Phasey movement. Try major 6 interval and 
maximum Q. 

Accentuates harmonics at high Q. 
Try with a sawtooth LFO. 



134 E-MU Systems 



Edit Menu 
Filter Envelope 



Filter Name Order Type 

FlangerLite 06 FLG 



AngelzHairz 


12 


FLG 


DreamWeava 


12 


FLG 


MeatyGizmo 


12 


REZ 


DeadRinger 


12 


REZ 


ZoomPeaks 


12 


REZ 


AcidRavage 


12 


REZ 


BassOMatic 


12 


REZ 


LucifersQ 


12 


REZ 


ToothComb 


12 


REZ 


EarBender 


12 


WAH 


FuzziFace 


12 


DST 


BlissBatz 


06 


SFX 


KlangKling 


12 


SFX 



Description 

Contains three notches. Frequency moves 
frequency and spacing of notches. 
Q increases flanging depth. 

Smooth sweep flanger. Good with vox 
waves, eg. 1094, Q =60 

Directional Flanger. Poles shift down at low 
Q and up at high Q. 

Filter inverts at mid-Q. 

Permanent "Ringy" Q response. 
Many Q variations. 

High resonance nasal filter. 

Great analog Q response. Wide tonal range. 
Try with a sawtooth LFO. 

Low boost for basslines. Q goes to 
distortion at the maximum level. 

Violent mid Q filter! Take care with Q 
values 40-90. 

Highly resonant harmonic peaks shift in 
unison. Try mid Q. 

Midway between wah & vowel. Strong 
mid-boost. Nasty at high Q settings. 

Nasty clipped distortion. Q functions as 
mid-frequency tone control. 

Bat phaser from the Emulator 4. 

Ringing Flange filter. Q "tunes" the ring 
frequency. 



Filter Parameters 

The Freq and Q parameters control various elements of the filter depending 
on the type of filter used. See the table in the Filter Types section for details 
about what the Freq and Q fields control in each filter. 



L1 FILTER 
Freq: 255 



Q: 019 



Filter Envelope 



The Filter Envelope is normally used to control the filter frequency and has 
six stages. Unlike the Volume Envelope, the Filter Envelope must be 
patched to the Filter Frequency using a Patchcord. In this respect, it can be 
thought of as a general purpose envelope generator which is normally 
patched to control the filter. The Filter Envelope Levels can be negative as 
well as positive. 



Mo'Phatt Operation Manual 135 



Edit Menu 
Filter Envelope 



Sfc 



See "Base Tempo 
(Master Clock)" on page 36. 



There are three mode options: 

• Time-based: Defines the Filter Envelope rates from to 127 (approxi- 
mately 1 ms to 160 seconds). The Master clock has no affect on time- 
based rates. 



L1 FILTENV 
Rttack 1 



RRTE 
84 



LEVEL 
100% 



• Tempo-based: The Filter Envelope times vary based on the Base Tempo 
setting and are displayed in values such as 1, 2, 3, etc. Note values are 
displayed instead of a number when the time corresponds to an exact 
note value. Tempo-based envelopes are useful when using arpeggiators 
and sequencers because the envelope rates compress and expand accord- 
ing to the Master Clock, keeping the envelopes in sync with the music. 
See the illustration on page 88. 



L1 FILTENV 
Rttack 1 



RRTE 

m 



LEVEL 
100% 



• Envelope Repeat: The Envelope Generators can also be made to repeat. 
When the envelope repeat function is On, the Attack (1&2) and Decay 
(1&2) stages will continue to repeat as long as the key is held. As soon as 
the key is released, the envelope continues through its normal Release 
stages (1 & 2). For more information, see "Envelope Repeat" on page 88. 

► To Turn on Envelope Repeat: 

1 . Move the cursor until it is underneath the Mode field as shown below. 



L1 FILTER ENVELOPE 
Mode: time-based 



2. Turn the data entry control clockwise. The lower line changes to: 



L1 FILTER ENVELOPE 
Repeat: off 



3. Move the cursor underneath the on/off field, then turn the data entry 
control clockwise so that Repeat is On. 



136 E-MU Systems 



Edit Menu 
Auxiliary Envelope 



^ 



See the Programming 
Basics section of this manual for 
detailed information about how 
the Envelopes work. 



S*> 



The default Patchcord 
settings connect the Filter 
Envelope to Filter Frequency but 
the envelope can be routed to 
any real-time control destination 
using a Patchcord. 



Auxiliary Envelope 



Low Frequency 
Oscillators (LFOs) 



Defining the Filter Envelope 

The Filter Envelope controls the filter frequency of the layer over time. The 
Envelope has six stages to the contour: Attack 1, Attack 2, Decay 1, Decay 2, 
Release 1 and Release 2. When a key is pressed, the Envelope goes through 
the first four stages. If the key continues to be held, the envelope holds at 
the Decay 2 level. When the key is released, the envelope immediately 
jumps to the Release 1 stage, then the Release 2 stage finally ending at the 
Release 2 level. 



+100 



Sustain 




-100 

Key Down 



Key Released 



The Auxiliary Envelope is a supplementary general purpose envelope that 
can be routed to any real-time control destination in the Patchcords. It is 
identical to the filter envelope generator. See "Filter Envelope" on page 135 
for full details. 



A Low Frequency Oscillator or LFO, is simply a wave that repeats at a slow 
speed. Mo'Phatt has two LFOs per layer identified on the display as LFOl 
and LF02. 

An LFO can be routed to any real-time control destination using a 
Patchcord. LFOs have a myriad of uses, some of which probably haven't 
been thought of yet. The following examples show a few common uses. 

• Control the pitch of the sound (LFO -> Pitch). This effect is called 
"vibrato" and is an important performance tool. Many presets use this 
routing with the modulation wheel controlling "how much" modula- 
tion is applied. 

• Create a "tremolo" effect by routing the LFO to control the volume 
(LFO -> Amp Volume). 

• Add a bit of animation to the sound by routing the LFO to control the 
filter. Set the Patchcord amount low for a subtle effect. 

The LFOs have five parameters: Shape, Sync, Rate, Delay and Variation. 



Mo'Phatt Operation Manual 137 



Edit Menu 
Low Frequency Oscillators (LFOs) 



LFO Tricks & Tips. 

• The Random LFO wave is truly 
random and is different for 
each voice and layer. 

• The Pattern (Pat) waveforms 
will sound the same on 
different layers and voices. 

• Sine + Noise is very useful for 
simulating trumpet and flute 
vibrato. 

5 When routing Hemi-quaver 
to Pitch: 

+38 = major scale 
-38 = phrygian scale 
+76 = whole tone scale 
(+38) + (+76) = diminished 
(two cords) 

odd amount = S+H sound 



Note: References to musical 
intervals in the pattern LFO 
shapes are with the LFO 
routed to pitch and a 
Patchcord amount of +38. 



Shape 

LFO waveforms have different shapes. The shape of the waveform deter- 
mines the effect of the LFO. LFOs have traditionally been used to add 
vibrato or repeating movement to a sound. These new shapes offer a lot of 
new programming possibilities. 

If you modulate the pitch of an instrument, it's easy to visualize the shape 
of the waveform. For example, the sine wave has a smooth, rolling shape 
that changes the pitch smoothly. The square waveform changes between 
two pitches abruptly. A sawtooth waveform increases the pitch smoothly, 
then abruptly changes back down. The available waveforms are shown 
below. 



Random 



Triangle 



Sawtooth 



_n 



"-ai 



Ltmi 





Sine 






Square 


33% Pulse 





















25% Pulse 



16% Pulse 



12% Pulse 



Pat: Octaves 

+ Octave 



Pat: Fifth + Octave 

c, 



Pat: Sus4 trip 



J L 



T 



Octave 



Pat: Neener 



Sine 1,2 



Sine 1,3,5 



A# 



J 





Sine + Noise Hemi-quaver 



Ayv 4i\^ 



138 E-MU Systems 



Edit Menu 
Low Frequency Oscillators (LFOs) 






LFO Synced to 1/4 Note Clock 



LI 



LF01 



5HRPE 
sawtooth 



SYNC 
key sync 



Sync 

The Sync field specifies whether the LFO is synchronized to a key stroke or 
is Free Running. Key Sync starts the LFO wave at the beginning of its cycle 
each time you press a key on the controller. In Free Run mode, the LFO 
wave begins at a random point in its cycle each time you press a key on the 
controller. 



Rate 

The Rate field determines the LFO speed in absolute frequency rate values 
or tempo-based note values. All values equal to or greater than zero specify 
absolute frequency values from 0.08 Hz to 18.14 Hz. 

Values less than zero specify tempo-based rates. If you modulate the rate of 
a tempo-based LFO, the rates will jump between the tempo-based note 
values with each Patchcord increment of "1". As an example: if the LFO 
rate was set to 8/1 and you patched the Mod Wheel to control rate with a 
Patchcord amount of +1, turning the Mod Wheel to maximum would 
change the LFO rate to 4/ Id. Refer to the chart below. 



LI 



LF01 



RRTE 
0.08Hz 



DELRY 
60 



VRR 
020 



Tempo-based Rates 

(based on Master Clock Tempo) 


Display 


octal whole note 


8/1 


dotted quad whole note 


4/ld 


octal whole note triplet 


8/lt 


quad whole note 


4/1 


dotted double whole note 


2/ld 


quad whole note triplet 


4/lt 


double whole note 


2/1 


dotted whole note 


1/ld 



Mo'Phatt Operation Manual 139 



Edit Menu 
Low Frequency Oscillators (LFOs) 



Tempo-based Rates 

(based on Master Clock Tempo) 


Display 


double note triplet 


2/lt 


whole note 


1/1 


dotted half note 


l/2d 


whole note triplet 


1/lt 


half note 


1/2 


dotted quarter note 


l/4d 


half note triplet 


l/2t 


quarter note 


1/4 


dotted 8th note 


l/8d 


quarter note triplet 


l/4t 


8th note 


1/8 


dotted 16th note 


l/16d 


8th note triplet 


l/8t 


16th note 


1/16 


dotted 32nd note 


l/32d 


16th note triplet 


l/16t 


32nd Note 


1/32 



Delay 

The Delay parameter defines the amount of time between hitting a key on 
the controller and the onset of the LFO modulation. Delay can be used to 
simulate an effect often used by acoustic instrument players where the 
vibrato is brought in only after the initial note pitch is established. The 
following illustration demonstrates how delay works. 



time 




All Delay values equal to or greater than zero specify absolute time rates 
from to 127. Values less than zero specify Tempo-based mode. Refer to the 
previous table for times and tempo-based rates. 



140 E-MU Systems 



Edit Menu 
Low Frequency Oscillators (LFOs) 



&6 



Variation is disabled 
when a Tempo-Based LFO is 
selected. 



Variation 

LFO Variation sets the amount of random variation of the LFO each time 
you press a key on the controller. This creates a chorus or ensemble effect 
since each note played has a slightly different modulation rate. The higher 
the value entered, the greater the note to note variation in the LFO. 

The Variation value range is from through 100. 




LFO variation changes the rate of each note to create an "ensemble" effect. 



Mo'Phatt Operation Manual 141 



Edit Menu 
Patchcords 



Patchcords 



Patchcords tie everything together by connecting modulation sources to 
destinations. Each Patchcord has its own Amount control which can be 
positive or negative (negative amounts invert the signal). In addition, the 
Patchcord amounts themselves can be controlled by any modulation 
source. Mo'Phatt provides 24 patches for each layer. 

There are three permanently connected control routings: volume envelope 
to amplifier, pitch wheel to pitch and key to pitch. All other connections 
must be made using the Patchcords. 



Modulation 
Source 




Destination 



Amp 
Volume 



Modulation 
Source 



Destination 



LFO 1 
LF0 2 

Amp Env 
Filt Env 

Aux Env 
Wheel 

Pressure 
etc. 



Amp Vol 

Pitch 

Pan 

LFO Rate 

Aux Env 

Env Atk 

Glide 

etc. 



Each patch has an amount field which determines how much modulation 
is applied to the destination. The modulation amount can be positive or 
negative. Negative values invert the input. The amount value range is from 
-100 to +100. 



L1 PRTCHCORD 

RlsVel -> RmpVol 



#01 
+100 



L1 PRTCHCORD 

Key+ -> FiltRes 



#24 
-27 



142 E-MU Systems 



Edit Menu 
Patchcords 



Note: Flip-Flop Footswitches 
7 & 2 remain in their last 
condition when a new preset 
is selected. 

Flip-Flop Footswitch 3 resets 
to the Off condition whenever 
a new preset is selected. 



Modulator Polarity 

You will notice that some of the modulation sources have symbols 
following their names. For example, there are three Velocity modulation 
sources, Vel +, Vel +, and Vel <. 



Control 



Value 




+ modulation ADDS to the 
initial value. (Normal) 

± centers around Zero. 
(Use for LFOs, Filt. Freq.) 



< modulation SUBTRACTS 
from the initial value 



"+" Modulation: Uses only the positive half of the range, adding to the 
current value. For example, if the filter frequency were set to 100 and you 
patched Vel+ to the filter, the filter frequency would increase from 100 as 
velocity was applied. 

"±" Modulation: Uses both sides (full) range and both adding and 
subtracting from the current value. For example, if the filter frequency 
were set to 100 and you patched Vel + to the filter, the filter frequency 
would decrease from 100 with key velocities of 63 or less and increase from 
100 with key velocities of 64 and above. Therefore with medium velocity, 
the Filter frequency is approximately where you set it at 100. 

An LFO + works the same way; on the positive half of the cycle it increases 
the initial amount and on the negative half of the cycle it decreases the 
initial amount. With a + modulation source, a value of 64 equals 0. 

"<" Modulation: Uses only the negative half of the range, subtracting 
from the current value. For example, if the Amplifier Volume were set to 
+3 dB and you patched Vel < to Amp Vol, the volume would be at +3 dB 
only when maximum key velocity were applied. Lower key velocities would 
scale back the volume. In general, < modulation is the proper choice when 
modulating Volume. 



Mo'Phatt Operation Manual 143 



Edit Menu 
Patchcords 



Refer to the following table for a list of modulation sources and 
destinations available in the Mo'Phatt. 



Modulation Sources: 

Off 

Key (+, ±) 

Velocity (+, +, <) 

RlsVel (Release Velocity) 

Gate 

Pressure 

Pitch Whl (Pitch Wheel) 

ModWhl (Modulation Wheel) 

Pedal 

MIDI A-L 

PLagOut (Preset Lag Out) 

PRampOut (Preset Ramp Out) 

FootSwl - 3 (Foot Switch 1-3) 

FootFF (Flip-Flop Foot Switch 1 -3) 

MIDI Volume (Controller 7) 

MIDI Pan (Controller 10) 

MIDI Expression (Controller 11) 

KeyGlide 

VolEnv +, +, < (Volume Envelope) 

FilEnv +, +, < (Filter Envelope) 

AuxEnv +, +, < (Auxiliary Envelope) 

LFO 1 & 2 (+, +) 

White (White Noise) 

Pink (Pink Noise) 

XfdRand (Crossfade Random) 

KeyRand 1 & 2 (Key Random) 

Lag sum (summing amp out) 

Lag 1 sum (summing amp out) 

Lag & 1 (Lag Processor) 

Clk Divisors (Octal, Quad, Double 

Whole, Whole, Half, Qtr, 8th, 16th) 

DC (DC Offset) 
Summing Amp 
Sum 
Switch 

Absolute Value 
Diode 
Flip-Flop 
Quantizer 
4x Gain 



Modulation Destinations 

Off 

KeySust (Key Sustain) 

FinePtch (Fine Pitch) 

Pitch 

Glide 

ChrsAmt (Chorus Amount) 

'SStart (Sample Start) -note-on) 

SLoop (Sample Loop) 

SRetrig (Sample Retrigger) 

FiltFreq (Filter Frequency) 

'FiltRes (Filter Resonance -note-on) 

AmpVol (Amplifier Volume) 

AmpPan (Amplifier Pan) 

RTXfade (Real-time Crossfade) 

VEnvRts (Volume Envelope Rates -all) 

VEnvAtk (Volume Envelope Attack) 

VEnvDcy (Volume Envelope Decay) 

VEnvRls (Volume Envelope Release) 

FEnvRts (Filter Envelope Rates -all) 

FEnvAtk (Filter Envelope Attack) 

FEnvDcy (Filter Envelope Decay) 

FEnvRls (Filter Envelope Release) 

FEnvTrig (Filter Envelope Trigger) 

AEnvRts (Auxiliary Envelope Rates -all) 

AEnvAtk (Auxiliary Envelope Attack) 

AEnvDcy (Auxiliary Envelope Decay) 

AEnvRls (Auxiliary Envelope Release) 

AEnvTrig (Auxiliary Envelope Trigger) 

LFO 1 & 2 Rate 

LFO 1 & 2 Trigger 

Lag Processor In & 1 

Sum (Summing Amp) 

Switch 

Abs (Absolute Value) 

Diode 

Quantize 

Flip-Flop 

Gain 4x 

Cord 1-24 Amount 



144 E-MU Systems 



Edit Menu 
Pitch Bend Range 



Pitch Bend Range 



Mix Output 



Specifies the Pitch Wheel range in semitones for the current layer. Pitch 
Wheel is a standard synthesizer control which is transmitted as a MIDI 
continuous controller message used (normally) to bend the pitch up and 
down. 

The PitchBend range is from to +12 semitones or "Master." A setting of 
"0" turns the pitch wheel Off for the current layer. The Master setting uses 
the Pitch Bend range defined in the Master menu. 



L1 PITCHBEND RRNGE 
+/- 12 semitones 



This feature allows you to program the Effect Send as a part of the preset. 
Note that for this feature to work, the Mix Output setting in the Master 
menu MUST be set to "Preset" on the selected MIDI channel. If you want to 
define output routing by MIDI channel, set it up using the Mix Output page 
in the Master menu. See "Mix Output" on page 67 for more information. 



L1 MIX OUTPUT 
5end2->main 



f 



FX Send 
Routing 



Output 
Routing 



The Sends function as effect processor inputs (effect sends). The Output 
Routing field shows the true routing of the Sends to the Main output. The 
Output Routing never changes! 

► To Control the Mix Output from the Preset: 

1 . Move the cursor until it is underneath the Layer field and change the 
Layer using the Data Entry Control. 

2. Move the cursor until it is underneath the FX Send Routing field and 
change the Send (1-4) using the Data Entry Control. 

3. Locate the MIX OUTPUT screen in the Master menu. 

4. Set the MIDI channel you are using to "use preset". 



Mo'Phatt Operation Manual 145 



Edit Menu 



Common 

Preset 

Parameters 



Preset Effects 



This section of the Edit menu chapter describes parameters that affect all 
layers in the preset. 



Mo'Phatt has two stereo effects processors. When playing presets one at a 
time, the two processors can be programmed as part of the preset. The 
diagram below shows how the effects are integrated into the signal path 
using a parallel effects send/return model, similar to a mixing console. 



FX Send Amount 



Reverb, Delay 







i \^ w 


Effect 
A 












^^ w 










^- W 


















T 


Layers 






\ (sT 


m) ^> 
i Main 
k Outs 




m 


^r j 

■ — Dry Signal ^ 

>=^> (ft 


) (ft 


j — 


r ^ 










li 






^\ w 


Effect 
B 
















i ^^ 









Chorus, Flange 



FX Send Amount 



Refer to the Effects chapter for additional information and instructions for 
setting up both the Preset Effects and the Master Effects. 



146 E-MU Systems 



Edit Menu 
Preset Effects 



OUTPUT SECTION 
& EFFECTS PROCESSORS 



PRESET 
EDIT MENU 




MASTER MENU 



The Mix Output setting in the Master Menu determines if the Preset's Mix 
Output routing will be used. This allows the Sends to be programmed by 
either MIDI Channel or by Preset, whichever you prefer. 



Mo'Phatt Operation Manual 147 



Edit Menu 
FXA Algorithm 



FXA Algorithm 



This screen selects the effect type for Effect Processor A. The "A" effects 
consist of different reverb types and digital delays. Move the cursor to the 
lower line of the display and select the effect you want. 



FXR RLGORITHM 
Lg Concert Pan 



A Effect Types 

1. Room 1 

2. Room 2 

3. Room 3 

4. Hall 1 

5. Hall 2 

6. Plate 

7. Delay 

8. Panning Delay 

9. Multitap 1 

10. Multitap Pan 

11. 3 Tap 

12. 3 Tap Pan 

13. Soft Room 

14. Warm Room 

15. Perfect Room 

16. Tiled Room 

17. Hard Plate 

18. Warm Hall 

19. Spacious Hall 

20. Bright Hall 

21. Bright Hall Pan 

22. Bright Plate 



23. BBall Court 

24. Gymnasium 

25. Cavern 

26. Concert 9 

27. Concert 10 Pan 

28. Reverse Gate 

29. Gate 2 

30. Gate Pan 

31. Concert 11 

32. Medium Concert 

33. Large Concert 

34. Large Concert Pan 

35. Canyon 

36. Delay Verb 1 

37. DelayVerb 2 

38. DelayVerb 3 

39. DelayVerb 4 Pan 

40. DelayVerb 5 Pan 

41. DelayVerb 6 

42. DelayVerb 7 

43. DelayVerb 8 

44. DelayVerb 9 



148 E-MU Systems 



Edit Menu 
FXA Parameters 



FXA Parameters 



FXA Send Amounts 



FXB Algorithm 



The FXA parameters are Decay, High Frequency Damping, and the FxB to 
FxA send. Decay sets the length of time it takes an effect to fade out. HF 
Damping causes the high frequency energy to fade away more quickly 
during the reverb decay. FxB to FxA controls the amount of the "B" effect 
sent through effect "A". This allows you to place the two effects in series 
and create setups such as "distortion through reverb" among others. Please 
refer to the Effects chapter for more information about the effects. 



FXR DECRY HFDRMP FxB>FxR 
048 064 000 



These parameters set the effects amounts for each of the four stereo effects 
busses. 



FXR SEND RMOUNTS 1:100% 

2: 50% 3: 10% M: 0% 



This screen selects the effect type for Effect Processor A. Move the cursor to 
the lower line of the display and select the effect you want. 



FXB RLGORITHM 
Panning Delay 



B Effect Types 

1. Chorus 1 

2. Chorus 2 

3. Chorus 3 

4. Chorus 4 

5. Chorus 5 

6. Doubling 

7. Slapback 

8. Flange 1 

9. Flange 2 

10. Flange 3 

11. Flange 4 



12. Flange 5 

13. Flange 6 

14. Flange 7 

15. Big Chorus 

16. Symphonic 

17. Ensemble 

18. Delay 

19. Delay Stereo 

20. Delay Stereo 2 

21. Panning Delay 

22. Delay Chorus 



23. PanDelay Chorus 1 

24. PanDelay Chorus 2 

25. Dual Tap 1/3 

26. Dual Tap 1/4 

27. Vibrato 

28. Distortion 1 

29. Distortion 2 

30. Distorted Flange 

31. Distorted Chorus 

32. Distorted Double 



Mo'Phatt Operation Manual 149 



Edit Menu 
FXB Parameters 



FXB Parameters 



FXB Send Amounts 



The FXB parameters are Feedback, LFO Rate and Delay. Feedback sends the 
output of the effect back into the input. This creates multiple echoes on a 
delay effect and intensifies a chorus or flange effect. LFO Rate allows you to 
change the speed of the modulation oscillator for flange and chorus effects. 
Delay sets the length of the delay line. This affects the time between 
echoes, or the tone of flange effects. 



FXB FEEDBK 
032 



LFORRTE DELRY 
003 200ms 



These parameters set the effects amounts for the four stereo effects busses. 



FXB SEND RMOUNTS 
2: 50% 3: 10% 



1:100% 
M: 0% 



150 E-MU Systems 



Edit Menu 
Preset Patchcords 



Preset Patchcords 



effects. 



To crossfade between 



1 ) Set FXA Send 1 to 100%. 

2) Set FXB Send 7 to 0%. 

3) Set FX Cord # 1 to FXA Send 7 
at -100. 

4) Set FX Cord #2 to FXB Send 1 
at +100. 

Increasing the controller amount 
will crossfade from FXA to FXB. 



Preset Patchcords give you real-time control of global parameters. The 
effect processors are a powerful synthesis tool and this feature lets you 
control and use them in exciting new ways. For example, you can dynami- 
cally adjust the effects mix during a sequence or live performance. 

There are many exciting performance possibilities using Preset Patchcords 
to control BEATs and Arpeggiator parameters. The front panel knobs "Wild 
1-4" are usually connected to Arp and BEATs parameters in factory presets 
marked "arp:" or "bts:". Likewise, Pitch and Mod wheels are often routed to 
"Beats Busy" and "Beats Variation" in factory presets marked "bts:". Be sure 
to try out these controls 

There are 12 Preset Patchcords per preset with a source, a destination and 
an amount control. The amount can be set from -100 to +100. The Preset 
Patchcord controls are added to the FX Send Amounts set in the Master or 
Edit menus. In other words, multiple sources connected to destinations are 
summed. 











PRESET CORDS 


#01 






Pedal -> 


FXBSend2 +100 




Modulation Sources: 




Modulation Destinations 


Off 




Off 


Pitch Whl (Pitch Wheel) 




Effect A Send 1 


ModWhl (Modulation Wheel) 




Effect A Send 2 


Pedal 




Effect A Send 3 


MIDI Volume (Controller 7) 




Effect A Send 4 


MIDI Pan (Controller 10) 




Effect B Send 1 


MIDI Expression (Controller 11) 




Effect B Send 2 


MIDI A-L 




Effect B Send 3 


Footswitch 1 




Effect B Send 4 


Flip-Flop Footswitch 1 




Preset Lag In 


Footswitch 2 




Preset Lag Amount 


Flip-Flop Footswitch 2 




Preset Lag Rate 


Footswitch 3 




Preset Ramp Rate 


Flip-Flop Footswitch 3 




Arp Resolution 


DC 




Arp Extension 

Arp Velocity 

Arp Gate 

Arp Interval 

Beats Velocity Group 1-4 

Beats Transpose (Xpose) Group 1-4 

Beats Variation 








Beats Busy 





Mo'Phatt Operation Manual 151 



Edit Menu 
Initial Controller Amount 



Initial Controller 
Amount 



This parameter sets the initial value of MIDI controllers A-L when the preset 
is first selected. The front panel Control Knobs can be thought of as front 
panel MIDI controllers because in the Mo'Phatt, they are treated just as if 
they originated from an external MIDI device. Refer to the following 
diagram. There are three Initial Controller Amount screens (A-D ; E-H ; I-L). 




Patchcord Destinations 



Key Sustain 

Fine Pitch 

Pitch 

Glide 

Chorus Amount 

Sample Start 

Sample Loop 

Sample Retrigger 

Filter Frequency 

Filter Q 

Amplifier Volume 

Amplifier Pan 

Amplifier Crossfacle 

Volume Envelope Rates 

Volume Envelope Attack 

Volume Envelope Decay 

Volume Envelope Release 

Filter Envelope Rates 

Filter Envelope Attack 

Filter Envelope Decay 

Filter Envelope Release 

Aux. Envelope Rates 

Aux. Envelope Attack 

Aux. Envelope Decay 

Aux. Envelope Release 

LFO 1 & 2 Rates 

LFO 1 & 2 Trigger 

Lag Processor 

Summing Amp 

Switch 

Absolute Value 

Diode 

Quantizer 

4x Gain 

Cord 1 -24 Amount 



External MIDI controller numbers are assigned to the Letters A-L in the 
Master menu. The Initial Controller Amount value is sent to the Patchcord 
destination when the Preset is first selected. If you move the Control Knob, 
then that value replaces the initial value. If MIDI controller data is received 
it will similarly replace the knob or initial setting. 



INITIRL CONTROLLER RMT 
R:017 B:112 C:127 D: off 



The Initial controller amounts can be set from 000-127 or they can be 
turned Off. If set to Off, the current controller value is used when the preset 
is first selected. Setting the Initial Amount to "off" uses the values from the 
previously selected preset. 



152 E-MU Systems 



Edit Menu 
Keyboard Tuning 



Keyboard Tuning 



In addition to the standard equally divided octave tuning, Mo'Phatt 
contains twelve factory programmed tunings and 12 user-definable 
tunings. The Keyboard Tuning parameter selects which tuning is used by 
the current preset. The User Tuning tables are denned in the Master menu. 

The factory Keyboard Tuning tables are described in the following table. 



Tuning Tables 

Equal Temperament 

JustC 
Vallotti 

19-Tone 
Gamelan 

Just C2 
Just C-minor 
Just C3 
Werkmeister III 

Kirnberger 

Scarlatti 
Repeating Octave 

User 1-12 



Description 

Standard Western tuning 

(12 equally spaced notes per octave) 

Just intonation. (Based on small interval ratios. Sweet 
and pure, non-beating intervals.) 

Valotti & Young non-equal temperament. (Similar to 12 
tone equal temperament. Each key has a different 
character for a given scale.) 

19 tone equal temperament. (19 notes per octave. 
Difficult to play, but works well with a sequencer.) 

5 tone Slendro and 7 tone Pelog. (Javanese. Pelog are 
white keys, Slendro are black keys. Exotic tunings of 
Gamelan flavor. 

Allows you to play the following chords in the key of C: 
C, E, F, G, A, B, C#m, D#m, Em, F#m, G#m, Am, Bm 

Allows you to play the following chords in the key of C: 
C, E, F, G, A, B, Em, Am, Bm, C#m, D#m, G#m 

Allows you to play the following chords in the key of C: 
C, D, F, Bb, C#m, Dm, Em, F#m, G#m, Am 

A "well" temperament developed in the 1 7th century. 
Although you can play in all keys, each key sounds 
slightly different. 

Another well temperament developed by Johann 
Philipp Kirnberger where no pitch is more than 12 
cents off from equal temperament. 

A variant of Meantone tuning which was used from the 
15th to 18th centuries. 

Middle C octave is repeated up and down the keyboard. 
Link with a preset in equal temperament to form 
unusual inversion up and down the keyboard. 

Define your own tuning tables (Master menu). 



Refer to "User Key Tuning" on page 82 in the Master Menu chapter for 
instructions on how to define your own Keyboard Tunings. 



Mo'Phatt Operation Manual 153 



Edit Menu 
Keyboard Tuning 



^> 



Mo'Phatt implements 
the MIDI Tuning Dump protocol 
which allows you to create 
tuning tables on your personal 
computer and download them 
via MIDI. There are several 
computer applications available 
on the internet which let you 
create and download tuning 
tables via MIDI. 



The Just C Tuning Tables 

Well Tempered and Just were standard keyboard tunings up until the 20th- 
century when the current "equal tempered" scale became prevalent. In an 
equal tempered scale, the octave is equally divided into 12 parts. In Just or 
Well Tempered scales, the 12 notes are separately tuned to produce pure 
chords. However, in Just tunings you are limited to playing certain chords 
and if you play the wrong chord it may sound very BAD! 

Mo'Phatt allows you to modulate between keys by providing you 12 user 
tuning tables. Tuning tables can be changed as you play using a program 
change (create several presets with the same sound and different tuning 
tables), by MIDI SysEx command (using a programmable MIDI footswitch 
or other device), or using a continuous controller (link 2 presets and 
crossfade between them using a controller). The Just C2, Just C min, Just C3 
Tuning Tables 

These new tuning tables take the concept of just intonation a step beyond 
previous E-mu products. Fully explaining the mysteries of just intonation is 
beyond the scope of this manual, but the subject is covered exhaustively in 
Hermann Helmholtz's On the Sensations of Tone, available at most libraries 
and bookstores. 

The new tables are called Just C2, Just C3, and Just C Minor. Try playing in 
the key of C/Cm using each table. You'll quickly discover both the wonders 
and the frustrations of just intonation! In Just C, for example, you'll find 
that the chords C, Em, F, G, and Am sound beautiful. If you hold one of 
these chords, you'll hear no "beating". After playing for a few minutes, 
switch back to Equal Temperament for a rude awakening! 

At this point you might wonder why anyone would use Equal Temper- 
ament to begin with. For the answer to that question, play a D, Dmi, or Bb 
chordLThe intervallic ratios that make the C & G chords sound so pure 
make the D chord sound horribly out of tune. That's why we had to include 
Just C3. In this tuning, D, Dmi and Bb sound in tune, but the G chord will 
sound wrong. 

Each of the 4 tables allows you to play a different group of common chords 
in just intonation. Sadly, there is no single 12 note tuning that will allow all 
of the common chords to be in tune, and of course that's why they 
invented the equal temperament tuning system that we use today. 



JustC 

Play these chords: C, E, F, G, A, Cm, C#m, Em, F#m, Gm, Am 

Just C2 

Play these chords: C, E, F, G, A, B, C#m, D#m, Em, G#m, Am, Bm 

Just C2 minor 

Play these chords: C, D b , D, E b , G, A b , Cm, Em, Fm, Gm 

Just C3 

Play these chords: C, D, F, B b , C#m, Dm, Em, F#m, G#m, Am 



154 E-MU Systems 



Edit Menu 
Preset Links 



Preset Links 



You can link presets to other presets to create layering or keyboard splits. 
The current preset can be linked with up to two other presets (Links 1 & 2). 
Each linked preset can be assigned to a specific range in order to create 
keyboard splits or can be assigned a velocity range to switch links according 
to key velocity In addition, you can specify Volume, Pan, Transpose and 
Delay settings for each Link. The modulation parameters specified in each 
preset remain in effect for each preset in the link. 



LINK 1 Preset 
000 2 Preset Name 



PHRTT 



LINK 1 KEY VEL 

RRNGE C-2 G8 000-127 




LINK 1 



TRRN5P05E 
+00 



DELRY 




Links provide an easy way to create new sounds by combining the existing 
presets. Or, you can create your own custom stacked presets with up to 12 
layers! We're talking LARGE sounds here. Of course Links can also be used 
when you just want to stack up two sounds. 

As an example, let's stack two presets to create a big sound. Start with a 
preset you like, then go into the Links screen and start scrolling through 
the preset list while you play to hear both presets together. When you find 
a winner, simply Save the preset and you're finished! 

• You can "Split" the keyboard up to 12 ways by using combinations of the 
Layers and Links. 

• By adjusting the Velocity for the link, you can bring in the link by 
playing hard. 

• Transposing the Link can radically change the sound. 

• The delay parameter lets you create surprise effects, echoes or cascades of 
sound as you continue to hold the keys. 



Mo'Phatt Operation Manual 155 



Edit Menu 
Preset Tempo Offset 



Preset Tempo Offset 



>0 For more information, 
see "Base Tempo (Master 
Clock)" on page 36. 



Audition Riff 
Selection 



\ 



Listening to the Riffs is a 
quick way to learn the sounds in 
Mo'Phatt. If a preset has hidden 
tricks or controllers, these will be 
shown off in the Riff. 



Play Solo Layers 



This function allows you to double or halve the Base Tempo as it applies to 
this preset. When playing or sequencing several presets in Multimode, the 
Base Tempo may be too fast or slow for one preset. Using this feature, you 
can adjust the tempo for the misbehaving preset. The Tempo Offset can use 
the current tempo or be set to half or twice the current tempo. 



TEMPO OFFSET 

use current tempo x 2 



A Riff is a short pre-recorded musical phrase which can be anything from a 
single note to a full 16-track sequence as in the BEATS (bts) Riffs. This 
function allows you to assign a Riff to a Preset. The Preset Riff will be used 
when the front panel Audition button is pressed or when BEATS mode is set 
either to "On" or "Omni" in the main preset selection screen. 

The Riffs themselves cannot be modified. 



RUDITION SELECTION 
Plays:KEY-MiddleC 



When constructing multilayer sounds it is often useful to turn off one or 
more of the layers so you can hear what you're doing! This feature allows 
you to temporarily solo individual layers or listen to them in any combi- 
nation. This screen differs from the other Edit screens in that it is NOT 
saved with the preset. The values reset each time you exit the Edit menu. 

Solo is activated by setting any layer to On (On = the layer is being Soloed). 
Any layers set to On will play and any layers set to Off will be muted. If all 
layers are set to Off, then Solo mode ends and all layers play normally. 
When you exit the Edit menu, all layers play normally. 



PLRY SOLO LRYERS 
1: off 2: off 3: off 



M: off 



156 E-MU Systems 



Programming Tutorial 



Editing 
Presets 



Changing the 
Instrument 



There is so much you can do with the Mo'Phatt it's impossible to describe it 
all. This chapter is will give you some ideas for programming your own 
custom sounds and contains step-by-step instructions to help you get 
started. In order to get the most from this chapter, we recommend you 
actually try each example. Have fun! 



One of the easiest ways to make a new preset is to edit an existing preset. 
This is also an excellent way of becoming familiar with Mo'Phatt. If you 
don't like what you hear, simply select a new preset, then Mo'Phatt reverts 
to the original sound. Changes are not permanent until you Save them (see 
"Saving a Preset" on page 183). 

Let's experiment and modify a few parameters of an existing preset. We'll 
start with functions that have an obvious effect on the sound: 
Instrument Select, Tuning, and Chorus. 

Changing the instrument is the easiest and most dramatic way to modify 
an existing preset. 



► To Change the Instrument for the Current Layer 

1. Choose any cool preset, then press the Edit button. 

2. Scroll through the Edit menu until you come to the Instrument page. 



L1 INSTRUMENT 
0307 bas:Fat Sun 



R0M:PHRTT 



3. Move the cursor down to the bottom line (using a Cursor button). 

4. Use the Data Entry Control to change the instrument. This changes the 
instrument for the current layer (in this case it's LI). 

5. Play the keyboard as you scroll through the various instruments. 



Mo'Phatt Operation Manual 157 



Programming Tutorial 
Editing Presets 



Changing the 
Tuning of an 
Instrument 



► To Change the Instrument for any Layer in the Preset 

6. Move the cursor back up to the first field in the first line (the layer). 

7. Use the Data Entry Control to select the layer you want. 



L ^ INSTRUMENT 
0050 org:Dance 



R0M:PHRTT 



8. Repeat steps 3 and 4 for each selected layer. Find an instrument that 
sounds good when combined with the previous instruments selected. 

With all these great instruments to work with, you really can't go wrong. 
Now let's play with the tuning. 

Tuning the selected layer of the preset changes the pitch of the key on the 
controller. If the numbers are "00," it means that the instruments are tuned 
to concert pitch (A=440 Hz). The Coarse tuning value represents whole 
semitone intervals. The Fine tuning value shifts the pitch in 1/64 semitones 
(or 1.56 cents). 



► To Tune the Instrument of the Current Layer 

1. Scroll through the Edit menu until you come to the Tuning page. 



Ll JUNING 
Coarse: +36 



Fine: +6 



2. Move the cursor to the Coarse field (using the cursor button). 

3. Set the value to +12 to shift the pitch up a whole octave. To shift the 
pitch in smaller units than a semitone, use the Fine field. 

Try tuning one of the instruments to a perfect fifth above the other by 
setting the Coarse value to +7. 

Tuning an instrument far out of its normal range completely changes the 
character of the sound. For example, if you tune a bass guitar up 2 octaves, 
it's going to sound rather petite. On the other hand, if you tune it down 2 
octaves, you can probably rattle plaster off the walls! Experiment with 
radical pitch shifting. You'll be surprised at the results. 



158 E-MU Systems 



Programming Tutorial 
Editing Presets 



Chorus 



&6 

^^ WARNING: Since it 

works by doubling the 
instruments, Chorusing halves 
the number of notes you can 
play on Mo'Phatt. 



Volume Envelope 



This is an easy one. Chorus works by doubling the instruments and 
detuning them slightly The larger the chorus value, the more detuning 
occurs. The Width parameter controls the stereo spread. A Width value of 
0% reduces the chorus to mono, a value of 100% provides the most stereo 
separation. Chorus is useful when you want to "fatten up" a part quickly 
and easily. 



► To Chorus a Layer 

1. With the cursor on the top line of the display, turn the Data Entry 
Control until you find the Chorus page. 

2. Use the cursor buttons to advance the cursor to the Chorus field (the 
first field in the bottom line of the display). Use the Data Entry Control 
to turn on chorus. 



L1 CHORUS 
off 



WIDTH 
100% 



3. Select a Width value based on the amount of detuning you want. 
Smaller numbers mean less detuning, larger ones more. 

You can select various amounts of chorusing for each of the instruments, 
just play around with the Chorus and Width parameter until you like what 
you hear. 



Every sound you hear, whether it's a piano note, a drum, or a bell, has a 
characteristic volume curve or envelope. This Volume Envelope shapes the 
volume of the sound which grows louder or softer in various ways during 
the course of the sound. The volume envelope of a sound is one of the clues 
our brain uses to determine what type of sound is being produced. 

An envelope shapes the sound or volume of the sound over time. The 
envelope generators in Mo'Phatt all have six stages to the contour: Attack 1, 
Attack 2, Decay 1, Decay 2, Release 1 and Release 2. When you press a key 
on the keyboard, the envelope goes through each of the first four stages, 
advancing to the next stage when the defined Level for each is reached. As 
long as you continue to hold the key down, the envelope continues 
through the first four stages holding at the end of the Decay 2 level until 
the key is released. When you release the key, the envelope jumps to the 
Release stages (no matter where the envelope is when you release the key) 
ending at the Release 2 level. 



Mo'Phatt Operation Manual 159 



Programming Tutorial 
Editing Presets 




Piano 



n 

Organ 




Strings 




Percussion 



t 

level 



time 




Key Down 



Key Released 



Every instrument in Mo'Phatt has it's own predetermined volume envelope 
which is used when the Volume Envelope parameter is set to "factory." By 
setting the Volume Envelope to "time-based" or "tempo-based," we can 
reshape the instrument's natural volume envelope any way we want. By 
reshaping the volume envelope of a instrument, you can dramatically 
change the way the sound is perceived. For example, you can make 
"bowed" pianos or backward gongs. The diagrams to the left show the 
characteristic volume envelopes of a few common sounds. 

In preparation for this experiment choose almost any of the standard organ 
presets which continues to sustain when the key is held down. Go to the 
Instrument page and set it to "None" on all layers except Layer 1. Now 
you're ready to play with the Volume Envelope. 



► To Setup the Volume Envelope 

1. Go to the Volume Envelope mode screen and set the Volume Envelope 
mode to "time-based." 



Ll VOLUME ENVELOPE 
Mode: time-based 



2. Now move on to the next screen to set the Volume Envelope 
parameters. 



Ll VOL ENV TIME 
Rttackl 50 



LEVEL 
100% 



3. Increase the Attack 1 time value and play a note. The attack controls 
the time it takes for the sound to reach the Attack level when a key is 
pressed and held. 



160 E-MU Systems 



Programming Tutorial 
Editing Presets 



Working with Filters 



4. Move the cursor to the first field in the bottom line and use the cursor 
buttons to advance to the Release pages. 

5. Increase the Release 1 and 2 times. Note the effect as you release the key 
on the controller. The Release stages controls the time it takes for the 
sound to die away when a note is released. 

The niters make it possible to remove certain components of the sound. A 
low pass filter removes the high frequency components or put another way 
it "lets the low frequencies pass." A high-pass filter removes the low 
frequency components from the sound letting only the high frequencies 
pass. See "Mo'Phatt Filter Types" on page 133 for a complete list of 
Mo'Phatt's filters and their descriptions. 

In preparation for the next tutorial, select a preset from the "bas:" category. 

1. Go to the Instrument screen (Edit menu) and scroll through the instru- 
ments until you find one with a harmonically rich sound. Since niters 
work by removing or accentuating certain frequencies, we want to 
make sure that we have a lot of frequencies to start with. 

1. Advance to the Filter Type screen using the Data Entry Control. Select 
the Classic 4th order filter. 



Ll FILTER 
Classic 



Ord 



Type 
LPF 



2. Go to the Filter Frequency and Q screen. Position the cursor in the Freq: 
field as shown in the following illustration. 



Ll FILTER 
Freq: 255 



Q: 000 



The Frequency parameter determines the filter cutoff frequency or the 
frequency the filter uses as the highest frequency allowed to pass. 

If you play the keyboard now, you should hear the raw Looped Perc 1 
sound. Slowly decrease the filter cutoff frequency value as you play the 
keyboard. The sound gets more and more dull as you remove more and 
more high frequencies from the sound. At some point, the sound 
completely disappears. (You have filtered out everything.) The chart on the 
following page illustrates what you just did. 



Mo'Phatt Operation Manual 161 



Programming Tutorial 
Editing Presets 



100H 



Cutoff Frequency 




80 160 360 720 14402880... 

Frequency 

3. Open the filter back up to 255, then move the cursor to the Q field. 

4. Set the Q to 10, then move the cursor back under the Freq value. As you 
change the frequency, notice that the sound now has a sharp, nasal 
quality. A high Q boosts or amplifies the frequencies at the cutoff 
frequency (Fc). 

5. Reset the cutoff frequency to the lowest setting (0.08Hz) and the Q to 
00. 

Adding the Filter Envelope 

Now let's modulate the Filter Frequency with the Filter Envelope. The Filter 
Envelope is a device that can automatically change the filter frequency 
during the course of the note. Before we define the Filter Envelope, we need 
to patch the Filter Envelope to the Filter Frequency. 

► To Setup the Filter Envelope 

1. Go to the Patchcord screen. 



Ll PRTCHCORD 
RlsVel -> RmpVol 



#01 
+100 



2. 



3. 



Move the cursor below the first field in the bottom line of the display. 
This is the Source field. Use the Data Entry Control to change the 
Source to "FiltEnv" as shown in the following illustration. 

Advance the cursor to the next field. This is the Destination field. Use 
the Data Entry Control to change the destination to "FiltFreq." 



162 E-MU Systems 



Programming Tutorial 
Editing Presets 



4. Move the cursor to the last field in the line. This is the Amount field. 
The Amount field determines the amount of modulation applied. Set 
this value to "+100." 



L1 PRTCHCORD 
FiltEnv+ -> FiltFreq 



#01 
+100 



This setup connects the Filter Envelope Generator to the Filter Cutoff as 
shown in the following diagram. 



Instrument 








Filter 

Fc Q 






Tone 














1 
\ 

** % 
1 






Filter Env. 






>R 



>L 



5. Now, return to the Filter Envelope Mode screen. Set the Mode to "time- 
based." 



L1 FILTER ENVELOPE 
Mode: time-based 



6. Advance to the Filter Envelope parameter page. 



L1 FILTENV 
Rttackl 



RRTE 
50 



LEVEL 
100% 



7. Move the cursor underneath the time field and change the value to 
about +50. Now when you press a key the filter slowly sweeps up. 



Mo'Phatt Operation Manual 163 



Programming Tutorial 
Editing Presets 



L1 FILTENV 
Rttackl 



RRTE 
50 



LEVEL 
+88% 



8. Change the attack rate and note the change in the sound. 

9. Set the envelope parameters as shown in the following table. 



Envelope Phase 


Time 


Level % 


Attack 1 


40 


65 


Attack 2 


65 


100 


Decay 1 


80 


85 


Decay 2 


25 


50 


Release 1 


97 


20 


Release 2 


73 






With the above setup, the filter sweeps up, then Decays back down to 
the Decay 2 Level until you release the key. Then it sweeps down at the 
Release rates. Play with the envelope parameters for awhile to get a feel 
for their function. (If you're having trouble understanding the Envelope 
Generators, please refer to the Programming Basics section in this 
manual.) 

Changing Filter Types 

Go back to the Filter Type screen shown below and move the cursor down 
the lower line of the display. Change the filter type while playing the 
keyboard. There are 50 different filter types. 



L1 FILTER 
Rah-Ry-Eeh 



Ord Type 
6 VOW 



These filters are extremely powerful and have been carefully crafted to offer 
maximum flexibility and musical control. You may want to change the 
Envelope (Patchcord) Amount, Q and/or the Filter Frequency to get the 
right sound for each filter and instrument. These three controls, coupled 
with the Filter Envelope, are perhaps the most important controls on any 
synthesizer. Take the time to learn how they interact with each other and 
you will be able to create sounds beyond imagination. 



164 E-MU Systems 



Programming Tutorial 
Editing Presets 



Practice Modulating 



Envelope Repeat 

The Envelope Generator can also be made to repeat. When the envelope 
repeat function is On, the Attack (1&2) and Decay (1&2) stages will 
continue to repeat as long as the key is held. 

► To Make the Filter Envelope Repeat: 

1. Go to the Filter Envelope Mode screen shown below. 

2. Move the cursor to the Mode field. 



L1 FILTER ENVELOPE 
Mode: time-based 



3. Turn the data entry control clockwise. The Mode field will change to 
Repeat as shown below. 



L1 FILTER ENVELOPE 
Repeat: on 



4. Move the cursor to the on/off field and turn Envelope Repeat On. 

5. Play a key on the keyboard. You should now hear the envelope 
repeating. 

6. Go back to the envelope parameter page and adjust the Attack 1&2, and 
Decay 1&2 parameters. The repeating envelope cycles through these 
four stages as long as the key is held. 

• Try modulating the pitch with the Filter Envelope generator 

• Use Velocity to modulate the Filter Envelope Patchcord or the Filter 
Frequency. This brightens the sound as you play harder. 

• Program the LFO to modulate Filter Frequency and Volume (Patch- 
Cord screen). 

• Modulate the LFO with the other LFO, with Velocity, and with the 
Modulation Wheel. 

• Examine the Factory presets to learn how they're constructed. There 
are lots of cool synthesis tricks you can use in your own presets. 

• Think of ten of your own modulation routings, then try them out. 
The key to learning Mo'Phatt is to experiment. 



Mo'Phatt Operation Manual 165 



Programming Tutorial 
Editing Presets 



Troubleshooting 



A common source of confusion when working with the filter envelope is 
that the Attack or Release parameters might not seem to be working 
correctly. If you are not getting the expected result, try to analyze the 
situation. There will be many times when you will have to stop for a 
minute and think, "What am I trying to do and why isn't it working?" 
When this happens (and it will), don't panic. Troubleshooting is a normal 
part of the synthesis process. Simply examine the various parameters and 
try to be as analytical as possible as you solve the problem. The solution is 
usually simple (the filter is already wide open and can't open any more). 
Learning to play any instrument takes a little patience and practice. 

Referring to the diagram below which shows the Mo'Phatt signal flow, 
notice that the DCA comes after the Filter. The DCA controls the final 
volume of the sound, so if the filter's release is longer than the release for 
the DCA, you won't hear it, because the DCA has already shut off the 
sound. 



Instrument 




Z-Plane 
Filter 



You're getting the general idea by now. Remember not to select a new 
preset before saving the current one or all your changes will be lost (the 
preset reverts to the last saved version). If you want to save your creation, 
select the Save/Copy menu and select a destination preset location for your 
masterpiece, then press Enter. 

Because you can save your work, it's worth spending time to get the sound 
just right. When designing sounds you become an instrument builder as 
well as a musician. With Mo'Phatt you can design the custom radical 
instruments you've always wanted! 



166 E-MU Systems 



Programming Tutorial 
Linking Presets 



Linking 
Presets 



x 



page 



See "Preset Links" on 
55 for more information. 



Using the Link pages in the Edit menu is a quick and easy way to create new 
sounds. Use the Links to "layer" presets and to "split" a keyboard into 
sections containing different sounds. 

► To Layer Two Presets 

1 . Select the first preset you want to layer. 

2. Press the Edit button. Use the Data Entry Control to move through the 
screens until you find either the "LINK 1" or "LINK 2" screen shown 
below. 



LINK 1 
off 



PRESET 



PHRTT 



3. 



4. 



Move the cursor to the second line of the display. Select the preset you 
want to link with the preset you selected in step 1. Play the keyboard as 
you scroll through the various presets to hear the results. 

If you want the link to be a permanent part of the preset, be sure to save 
the preset. Otherwise, simply change the preset to erase your work. 



► To Create a Split Keyboard Using Links 

1. Follow steps 1 through 4 above. 

2. Press Enter and use the Data Entry Control to advance to the next page. 



LINK 1 
RRNGE 



C-2 



KEY 



VEL 
000 127 



3. Set the keyboard range of the linked preset as desired. 

4. Press Enter and use the Data Entry Control to go to the Key Range page 
(It's one of the first Edit menu pages). 



LI 



KEY:L0 
C5 



FRDE 
000 



HIGH 
GS 



FRDE 
000 



5. Set the range of the original preset so it fills the remaining keyboard 
area. Save the preset. 



Mo'Phatt Operation Manual 167 



Programming Tutorial 
Linking Presets 



168 E-MU Systems 



Effects 



Effects 
Overview 



The Effects Sends 



Mo'Phatt has two stereo effects processors. When playing presets one at a 
time, the two processors can be programmed as part of the preset. When 
the MIDI Mode is set to "multi," Mo'Phatt uses a global effects assignment 
(Master Effects). The diagram below shows how the effects are integrated 
into the signal path using a parallel effects send/return model, similar to a 
mixing console. 

FX Send Amount 



_ _ 1 


Reverb, Delay 








. i ■ 


Effect 
A 
















r 








v^ > 




\ 
















Preset 




{ r^ 


\ fr, 








M 


If j 

■ — Dry Signal \ 

H> " f 


f > 


Main 
Outs 




i 


— w 










J 






r^ * 


Effect 
B 








1 r\. 






■ U^ " 








i 


Zhorus, Flangi 


t 





FX Send Amount 

On a mixing console you can control the amount of signal each channel 
Sends to the effect bus. This allows each channel to be placed in a slightly 
different "sonic space" which creates an airy, open sound. 

Mo'Phatt uses this basic concept, but works in a slightly different manner. 
There are four effects busses: Sendl-Send4. Each preset or each MIDI 
channel (you determine which), can be directed to one of the four busses. 
Each effect processor has four Send Amounts which allow you to set the 
wet/dry mix on each of the four busses going into the effect. A setting of 
0% is completely dry (no effect). A setting of 50% contains an equal mix of 
affected and normal (dry) signal. 



Mo'Phatt Operation Manual 169 



Effects 
Effects Overview 



The Effects Send is programmed for each layer in the Edit menu. These 
routings can be overruled in the Master menu Mix Output screen by 
changing the submix setting from "preset", which uses the preset routing, 
to Sendl-Send4. In the diagram below, MIDI channel 1 is programmed to 
obey the preset routing which in this case is Send 1. 

OUTPUT SECTION 
& EFFECTS PROCESSORS 



PRESET 
EDIT MENU 



Mix Output 
Ch 1 PRESET 



Ch2 



SEND 2 



Ch 3 SEND 3 



Ch 16 SEND 4 



MASTER MENU 




Individual layers or entire MIDI channels can be routed to any of the four busses. 

The four Effect Sends allow you to get the most out of the two effect 
processors. For example, with Effect B set to an echo algorithm, you could 
route one MIDI channel to Send 3 and set the effect amount to 80%. 
Another MIDI channel could be routed to Send 4 with an effect amount of 
only 5%. This is almost like having two different effects! 

The Mix Output function is also useful when sequencing since it lets you 
route specific MIDI channels (and thus sequencer tracks) to specific Sub 
outputs (on the back panel) where there they can be processed with EQ or 
other outboard effects. 



170 E-MU Systems 



Effects 
Effect Types 



Effect 
Types 



Effect Parameters 



A Effect Types 

Room 1-3 
Hall 1 & 2 
Plate 
Delay 

Panning Delay 
Multitap 1 
Multitap Pan 
3 Tap 
3 Tap Pan 
Soft Room 
Warm Room 
Perfect Room 
Tiled Room 
Hard Plate 
Warm Hall 
Spacious Hall 
Bright Hall 
Bright Hall Pan 
Bright Plate 
BBall Court 
Gymnasium 
Cavern 
Concert 9 
Concert 10 Pan 
Reverse Gate 
Gate 2 
Gate Pan 
Concert 11 



Medium Concert 
Large Concert 
Large Concert Pan 
Canyon 
Delay Verb 1-3 
DelayVerb 4-5 Pan 
DelayVerb 6-9 

B Effect Types 

Chorus 1-5 

Doubling 

Slapback 

Flange 1-7 

Big Chorus 

Symphonic 

Ensemble 

Delay 

Delay Stereo 

Delay Stereo 2 

Panning Delay 

Delay Chorus 

Pan Delay Chorus 1 & 2 

Dual Tap 1/3 

Dual Tap 1/4 

Vibrato 

Distortion 1 & 2 

Distorted Flange 

Distorted Chorus 

Distorted Double 



"A" Effect types contain Reverb and Delay effects. "B" Effect types contain 
Chorus, Flange and Distortion effects. There are 44 "A" effects and 32 "B" 
effects. In addition to the effect type, there are user adjustable parameters 
for each effect. The "A" effects have programmable Decay and High 
Frequency Damping. The "B" effects have user programmable Feedback, 
LFO Rate, and Delay Time. 



Mo'Phatt Operation Manual 171 



Effects 
Effect Types 



Decay 

The Decay parameter is used when setting "A" type effects. Decay sets the 
length of time it takes an effect to fade out. When setting up reverb effects, 
Decay controls the room size and the reflectivity of the room. For larger 
room sizes and greater reflectivity, set the Decay value higher. When setting 
up delay effects, the Decay parameter controls how many echoes are 
produced or how long the echoes last. The greater the value, the more 
echoes and longer lengths of time. 

The Decay value range is from through 90. 

High Frequency Damping 

The HF Damping parameter is used when setting "A" type effects. High 
Frequency energy tends to fade away first as a sound is dissipated in a room, 
the HF Damping parameter adjusts the amount of damping applied to the 
signal's high frequency elements which, in turn, changes the characteristics 
of the room. Rooms with smooth, hard surfaces are more reflective and 
have less high frequency damping. Rooms filled with sound absorbing 
materials, such as curtains or people, have more high frequency damping. 

The value range for High Frequency Damping is from through 127. 



Feedback 

The Feedback parameter is used when setting "B" type effects. The Chorus 
and Flange effects have a controllable feedback loop after the delay 
element. Feeding back a small amount of the signal intensifies the effect by 
creating multiple cancellations or images. Higher feedback values increase 
the amount of the Feedback loop. 



The Feedback value range is from to 127. 



LFO Rate 

The LFO Rate parameter is used when setting "B" type effects. Both Chorus 
and Flange effects use a Low Frequency Oscillator (LFO) to animate the 
effect. LFO applied to a chorus effect creates the slight changes necessary 
for a realistic choral effect. Applied to a flanger effect, the LFO moves the 
comb filter notches and adds animation to the sound. 

The LFO Rate value range is from to 127. 



Delay 

Flanging, chorus and echoes are all based on a delay line where the signal is 
delayed by some time period and then mixed back with the unaltered 
signal. This parameter specifies the how much time passes before you hear 
the delayed signal. On some effects, this value cannot be changed. In this 
case, the field contains a dash. 

The Delay value range is from 0ms to 635ms. 



172 E-MU Systems 



Effects 
Effects Programmed in the Preset 



Effects 

Programmed 
in the Preset 



Effects are normally programmed as part of the preset allowing you to have 
a different effect for each. This section describes how to program and 
modify Mo'Phatt's preset effects. 



► To Program the Effects as Part of the Preset: 

1. Press the Edit button. The LED illuminates and the Edit screen appears. 

2. Use the Data Entry Control to select the FXA Algorithm screen. 



FXR RLGORITHM 
Lg Concert Pan 



3. Select an Effect. Do not select the "Master Effect" setting or the global 
effects set up in the Master menu will be used instead of the Preset 
Effect settings. 

4. Use the Data Entry Control to select the FXA parameter screen. 



FXR DECRY 
90 



HFDRMP FxB>FxR 
127 127 



The FxB -> FxA parameter lets you route the B effect through the A effect. 
See "Effect B Into Effect A" on page 178. 

5. Set the other effect parameters to your preference. Refer to the infor- 
mation in the last section for detailed descriptions of these parameters. 

6. Use the Data Entry Control to select the FXB Algorithm screen. 



FXB RLGORITHM 
Distorted Flange 



7. Select an Effect. Do not select the "Master Effect" setting or the global 
effects set up in the Master menu will be used instead of the Preset 
Effect settings. 

8. Use the Data Entry Control to select the FXB parameter screen. 



Mo'Phatt Operation Manual 173 



Effects 
Master Effects 



Master Effects 



FXB FEEDBK LFORRTE DELRY 
127 127 635ms 



9. Set the other effect parameters to your preference. Refer to the infor- 
mation in the last section for detailed descriptions of these parameters. 

10. Save the preset. The programmed effects setting will be saved along 
with the preset. 



You might want the effects to be programmed on a global basis when in 
Omni or Poly modes. You could choose your favorite reverb, for example, 
and have it applied to any preset you select. 

When playing single presets, the effects are normally programmed as part 
of the preset. In Multimode, the Master effects are used, since there are only 
two effect processors to serve 16 MIDI channels. 



► To Program the Master Effects 

1 . Press the Master menu button. The LED illuminates and the Master 
screen appears. 

2. Use the Data Entry Control to select the FXA Algorithm screen. 



FXR RLGORITHM 
Lg Concert Pan 



3. Select an Effect. 

4. Use the Data Entry Control to select the FXA parameter screen. 




The FxB -> FxA parameter lets you route the B effect through the A effect. 
See "Effect B Into Effect A" on page 178. 



174 E-MU Systems 



Effects 
Master Effects 



$6 

The MIDI mode (Master 
Menu) must be set to Omni or 
Poly mode in order to select the 
effects in the preset. 



5. Set the other effect parameters to your preference. Refer to the infor- 
mation in the last section for detailed descriptions of these parameters. 

6. Use the Data Entry Control to select the FXB Algorithm screen. 



FXB RLGORITHM 
Distorted Flange 



7. Select an Effect. 

8. Use the Data Entry Control to select the FXB parameter screen. 



10. 



11. 



FXB FEEDBK LFORRTE DELRY 
127 127 m5ms 



Set the other effect parameters to your preference. Refer to the infor- 
mation in the last section for detailed descriptions of these parameters. 

Press the Edit menu button. The LED illuminates and the Edit menu 
displays the last screen used. 

Use the Data Entry Control to access the FXA Algorithm page and select 
"Master Effect A." 



FXR RLGORITHM 
Master Effect R 



12. Repeat step 11 for the FXB Algorithm 

13. Save the preset. The Master effects routing will be saved along with the 
preset. 



Mo'Phatt Operation Manual 175 



Effects 
Master Effects 



Effects Mode 



Flexible Effects 
Control 



s*> 



You can create special 
"Effects Presets" which are 
assigned to the FX Multi mode 
Control channel, then use 
standard MIDI Program Change 
commands to switch effects 
during sequence playback. 



This control provides a true bypass of the effects engine. Bypass is a useful 
feature if you are using external effects at the mixing console and want to 
turn the effects off for all presets. 



► To Bypass the Effects: 

1. Press the Master menu button. The LED lights and the last Master 
parameter screen used is displayed. 

2. Use the Data Entry Control to select the Effects Mode screen. 



FX MODE 
Enabled 



3. Use the cursor button to advance the cursor to the bottom line in the 
screen. 

4. Use the Data Entry Control to change the value. 

5. Press the Enter key to save the settings. 

The Effects Mode values are "enabled" and "bypassed." Enabling the Effects 
Mode turns on effects. Selecting "bypassed" turns off the effects. 

The effects processor controls are very flexible. The effects can be controlled 
in three different ways to suit your personal preference and to adapt to 
different situations. 

When in Omni or Poly mode, effects are normally programmed as part of 
the preset. In Multi mode, the two effects processors can be controlled 
using the Master settings or by using the effects settings of a preset on a 
specific MIDI channel. Effects can be programmed in the following ways: 



1. Programmed as part of the preset when playing single presets 
(Omni or Poly Modes). 

2. Programmed from the Master Effects Section when playing 
either single presets (preset Effect Type set to "Master") or 
when in Multi Mode. 

3. Programmed from the designated control preset when in Multi 
Mode. 



176 E-MU Systems 



Effects 
Master Effects 



Refer to the following diagram for a look at how effects are programmed. 



1 


Master 

X 
















Preset 
FX 


I!!!!!!!!!!!! 


II 














(Omni or Poly Mode) 





Effects are part 
of the Preset 



Master 



FX 



(Multi mode) 




Master Effects 



3 


Master 

X 










!!! 


1 


III 


II 


III 


II 


II 


II II 


'II 


III 


II 


1- 










(M 


jlti 


m 


ode, 











Selected FX Control Channel 



Ch 1 



Preset 

x 



Preset 



Ch 16 



FX 



One Channel's 
Preset determines 
the Effect Settings 



► To Program the Effects Globally for all Presets in Multi Mode: 

1. Press the Master menu button. The LED illuminates and the Master 
menu screen appears. 

2. Use the Data Entry Control to select the MIDI mode page. Choose 
"multi" for the mode. 



MIDI MODE 
multi 



CHRNGE 
accepted 



Mo'Phatt Operation Manual 177 



Effects 
Master Effects 



Effect B Into Effect A 



3. Move the cursor to the Multi mode Effects Control page using the Data 
Entry Control. 



FX MULTIMODE CONTROL 
use master settings 



4. Set the Effect Control channel to use master settings using the Data Entry 
Control. 

5. Press the Enter key to save the settings and return to the main screen. 



Using the Effects Channel Settings in Multi Mode 

In Multi mode, the two effects processors can be controlled from the Master 
Effects settings or they can follow the effects settings of the preset on a 
special MIDI channel. The effect settings on this special channel will be 
applied to all the other MIDI channels. This allows the effects to be 
changed during a sequence simply by changing the preset on a specified 
MIDI channel. 

► To Program the Effects by Channel Number in Multi Mode 

1 . Press the Master menu button. The LED illuminates and the Master 
menu screen appears. 

2. Use the Data Entry Control to select the MIDI mode page. Choose 
"multi" for the mode. 

3. Move the cursor to the Multi mode Effects Control field using the Data 
Entry Control 

4. Set the Effect Control to "preset on Channel #" (where # is replaced by 
the actual channel number from 1 through 16) using the Data Entry 
Control. 

5. Press Enter to save the settings and return to the main screen. 

The output of effects processor B can be routed into effects processor A. 
This connects the effects in series instead of their normal parallel configu- 
ration. Two effects connected in series sound very different than the same 
two effects in parallel. For example, a chorus patched through reverb can 
turn a bland string section into a lush wall of sound. The B ->A amount can 
also be controlled for even more flexibility. 

► To Send the Output of Effect B through Effect A: 

In this example, 100% of Effect B will be sent into Effect A. 

1. Access the FXA parameter screen (in either the Master or Edit menus) 
that contains the FXB ->FXA parameter. 



178 E-MU Systems 



Effects 
Master Effects 



FXR DECRY 
127 



HFDRMP FxB>FxR 
127 127 



2. Set this amount to 127. Press the cursor button to return the cursor to 
the top line in the display. 

3. Use the Data Entry Control to select the FXA submix routing parameter 
screen. 



FXR SEND RMOUNTS 
2: 20% 3: 30% 



1: 10% 
M: 40% 



4. Press the cursor buttons to advance the cursor to the Main field. 

5. Set the Main send amount to any amount other than zero. 

6. Press the cursor button again to return the cursor to the FXA title. Use 
the Data Entry Control to advance to the FXB Algorithm page. 

7. Select an effect. 

8. Advance to the FXB submix routing page and set the Main FXB send 
percentage to zero. 

9. Play the keyboard and you should hear the B Effect running through 
Effect A. This patch is shown below. 



Main Send 
50% 




Main Send 
0% -^/ 



Effect A 



Mo'Phatt Operation Manual 179 



Effects 
General Effect Descriptions 



General Effect 
Descriptions 

Reverb 



Reverberation is a simulation of a natural space such as a room or hall. The 
reverb algorithms in Mo'Phatt simulate various halls, rooms and reverber- 
ation plates. In addition, there are several other reverb effects such as Gated 
Reverbs, Multi Tap (early reflections), Delay and Panning effects. There are 
two adjustable parameters on the reverb effects - Decay Time and High 
Frequency Damping. 

Decay time defines the time it takes for the reflected sound from the room 
to decay or die away. The diagram below shows a generalized reverberation 
envelope. 




TIME 



Decay Time 



After an initial pre-delay period, the echoes from the closest walls or ceiling 
are heard. These first echoes, or the early reflection cluster, vary greatly 
depending on the type of room. Roughly 20 milliseconds after the early 
reflection cluster, the actual reverberation begins and decays according to 
the time set by the Decay Time parameter. 

High frequency energy tends to fade away first as a sound is dissipated in a 
room. The High Frequency Damping parameter allows you adjust the 
amount of high frequency damping and thus change the characteristics of 
the room. Rooms with smooth, hard surfaces are more reflective and have 
less high frequency damping. Rooms filled with sound absorbing materials 
such as curtains or people have more high frequency damping. 

General Descriptions of the Reverb Types 



Room: Programs simulate small rooms with high frequency absorption 
caused by drapes and furniture. 

Plates: Simulates plate type reverbs with their tight, dense, early 
reflections and sharp reverb buildup. 

Hall: Presets recreate the open, spacious ambience of large concert halls. 

Gated Reverbs: Add ambience only while the original signal is still 
sounding. As soon as the signal falls below a threshold, reverb is cut off. 

Delay: Programs can be used to create echo and doubling effects. 

Multi Tap: Programs consist of the reflection cluster only without the 
reverb decay. 



180 E-MU Systems 



Effects 
General Effect Descriptions 



Chorus 



Doubling 



Slapback 



Stereo Flanger 



The function of a chorus device is to thicken the sound or to make one 
voice sound like many. This effect is usually created by mixing one or more 
delayed versions of the signal with the original. The delay times used are 
too short to be perceived as an echo, but long enough so that comb filtering 
does not occur. In addition, the delay time is varied via a low frequency 
oscillator to simulate the random differences which occur when multiple 
instruments are playing together. A slight amount of feedback improves the 
effect by creating multiple images of the sound as it recirculates again and 
again. 

All the choruses are true stereo using two separate delay lines controlled by 
a single set of controls. The delay times are slightly different for each 
channel and the LFO phase is inverted on one channel to help contribute 
to the overall chorus effect. The LFO Rate and Depth settings are critical to 
achieving a realistic effect, with faster LFO rates generally requiring less LFO 
amount and vice-versa. 



When a copy of a sound delayed by about 26 milliseconds is added back to 
the original, two audio images are perceived by your brain. When the 
delayed image is slightly varied or modulated, the illusion of two voices is 
created. 



Slapback is a single short echo in the range of 50-60 milliseconds. A sound 
delayed by this length of time is perceived as a discrete and separate image 
which is useful for a thickening effect or as a pre-delay for reverb simulating 
a hard, reflective surface such a gymnasium wall. 

A flanger consists of a short audio delay line whose output is mixed 
together with the original signal. Mixing the delayed and original signals 
results in multiple frequency cancellations called a comb filter. Since the 
flanger is a type of filter, it works best with harmonically rich sounds. 





FREQUENCY (log) 
This is the frequency response of a Comb Filter. 

Flanging was originally created using two tape recorders playing identical 
recordings. By exactly synchronizing the two decks and then slowing the 
speed of one by grasping the tape reel flanges, the flanging effect was born. 



Mo'Phatt Operation Manual 181 



Effects 
General Effect Descriptions 



Delay 



Stereo Delay 

Panning Delay 
Dual Tap 



Vibrato 



Distortion 



The Mo'Phatt flanger is a stereo device consisting of two separate delay 
lines controlled by a single set of controls. A Low Frequency Oscillator 
(LFO) varies this initial delay setting, changing the frequency of the 
notches and adding animation to the sound. LFO Rate controls the rate of 
change and LFO Depth controls how much the LFO changes the delay. 

The Feedback control sends some of the delayed signal through the delay 
line again. When feedback is used the comb filter notches are deepened. 



Delay is an effect which can be used for doubling, reverb pre-delay, or 
echoes. 

Delay Time is variable from 0-635 mS and controls the time between 
echoes. Feedback and determines how long the echoes continue sounding. 
"Infinite" delay effects are also possible without the risk of runaway. 



Similar to delay except that the delay line outputs a stereo signal from the 
mono input. The two output signals are a few milliseconds apart to create a 
stereo image. The delay times are variable from 0-635 mS. 

A panning delay is similar to the normal delay lines except that the echoes 
bounce back and forth between the two stereo speakers. 

These are delay lines where the signal is "tapped off" at two unevenly 
spaced locations. When feedback is used, multiple complex echoes are 
produced. The fraction in some of the algorithm names (i.e. 1/3, 1/4) refers 
to the time ratio between the taps. 

Basically, this a delay line modulated by an LFO, but with none of the 
original signal added in. The LFO modulation creates a Doppler shift and a 
resultant cyclical pitch shift. The vibrato created in this manner sounds 
very different than vibrato created by frequency modulating the sample. 

Distortion uses a technique called "soft-clipping" to create additional 
harmonics in the signal. As the level increases, the top of the waveform 
becomes somewhat squared. As the level increases further, it transforms 
into a true square wave. 




Distortion 




Soft clipping gradually squares the edges of the waveform as the amplitude is increased. 



182 E-MU Systems 



Save/Copy Menu 



Saving a 
Preset 



>0 Each time you change a 
preset parameter, the Save/ 
Copy button LED illuminates 
reminding you to save your 
work. 



The Save/Copy menu is used to save changes to a preset and to copy data 
between presets. When in "Quick Edit" mode, this menu always defaults to 
the "Save to Preset" page of this menu with the cursor on the second line. 
You can use the Data Entry Control to navigate to other pages that support 
copying information. 



Any time you make a change to a preset, either using the Edit menu or by 
changing the Controller Knobs in Quick Edit mode, you must save the 
preset in order for the change to become permanent. When you save a 
preset it erases any existing preset information in that location. Make sure 
that the destination location does not contain preset information you want 
to keep. 



5RVE PRESET to 

020 1 Destination Preset 



User 



► To Save a Preset 

1. Press the Save/Copy menu button. 

2. Scroll to the Save Preset screen using the data entry control. 

3. Move the cursor to the bottom line on the display. 

4. Select the new preset location using the Data Entry Control. 

5. Press the Enter/Home button. 



Mo'Phatt Operation Manual 183 



Save/Copy Menu 
Copying Information 



Copying 
Information 



Copy Preset 



% 



All the Sound Navigator 
features work when using the 
Copy functions. 



The Copy operations let you copy information from any preset or layer to 
any other preset or layer. To use the copy command, first select the preset or 
layer to which you want to copy (the destination location). Then, from the 
copy screen, select the preset or layer you want to copy to the currently 
selected location (the source location). Using the copy commands you can 
copy preset, layer, Patchcord and arpeggiator information. 

The Copy Preset command lets you copy all of the preset information from 
one location into the preset of the current location. The preset information 
in the source location (the preset location from which you want to copy) is 
not deleted from the original location, just copied to the destination 
location. 



COPY PRESET from 
009 3 pad: Dreamer 



PHRTT 



► To Copy a Preset 

1. Select the Preset you want to copy information into. 

2. Press the Save/Copy menu button. 

3. Scroll to the Copy Preset screen using the data entry control. 

4. Select "Copy Preset from" using the Data Entry Control. 

5. Select the preset you want to copy using the Data Entry Control. The 
ROM Bank, Preset Number, Bank Number, Category and Preset Name 
fields are all selectable. 

6. Press the Enter/Home button. 

7. A warning screen appears asking you to confirm once more. Press the 
Enter/Home button to copy the selected preset into the current 
location. 



184 E-MU Systems 



Save/Copy Menu 
Copying Information 



Copy Layer 



The Copy Layer command lets you copy any layer information from one 
preset into any layer of the current preset location. The layer information 
in the source location (the layer location from which you want to copy) is 
not deleted from the original location, just copied to the destination 
location. 



COPY LRYER User 
020 1 Source Preset 



Ll 



-> 



LM 



► To Copy a Layer 

1. Select the Preset and Layer you want to copy information into. 

2. Press the Save/Copy menu button. 

3. Scroll to the Copy Layer screen using the data entry control. 

4. Move the cursor to the bottom line on the display. 

5. Select the preset location using the Data Entry Control, of the preset 
containing the information you want to copy into the current preset. 

6. Move the cursor to the top line in the display. 

7. Select the layer of the source preset in the first field on the right. 

8. Select the destination layer in the second field. 

9. Press the Enter/Home button. 



Mo'Phatt Operation Manual 185 



Save/Copy Menu 
Copying Information 



Copy 
Patchcords 



Copy Preset 
Patchcords 



The Copy Patchcord command lets you copy the patchcord settings from 
one layer of the preset location into the current layer of the current preset 
location. The preset information in the source location (the preset location 
from which you want to copy) is not deleted from the original location, just 
copied to the destination location. 



COPY CORDS User 
020 1 Source Preset 



LI -> LM 



► To Copy a Patchcord 

1. Select the Preset and Layer you want to copy information into. 

2. Press the Save/Copy menu button. 

3. Scroll to the Copy Cords screen using the data entry control. 

Move the cursor to the bottom line on the display. 

Select the preset location using the Data Entry Control, of the preset 
containing the information you want to copy into the current preset. 

Move the cursor to the top line in the display. 

Select the layer of the source preset in the first field on the right. 

Select the destination layer in the second field. 

9. Press the Enter/Home button. 



4. 

5. 
6. 

7. 

8. 



The Copy Preset Patchcord command lets you copy the preset patchcord 
settings from one preset location into the current preset location. The 
preset information in the source location (the preset location from which 
you want to copy) is not deleted from the original location, just copied to 
the destination location. 



COPY PRESET CORDS 
020 1 Source Preset 



User 



► To Copy a Preset Patchcord 

1 . Select the Preset you want to copy information into. 

2. Press the Save/Copy menu button. 

3. Scroll to the Copy Preset Cords screen using the data entry control. 

4. Move the cursor to the bottom line on the display. 

5. Select the preset containing the information you want to copy. 

6. Press the Enter/Home button. 



186 E-MU Systems 



Save/Copy Menu 
Copying Information 



Copy Arpeggiator 
Settings 



Copy Arpeggiator 
Pattern 



This function lets you copy the Arpeggiator settings from any ROM or RAM 
preset location into the current RAM (User) preset. 



COPY RRP SET from PHRTT 
052° syn: Syn Chaos 



► To Copy the Arpeggiator Settings 

1. From the main display select the User Preset you want to copy the Arp 
setting into. 

2. Press the Save/Copy menu button. 

3. Scroll to the Copy Arp Set screen using the data entry control. 

4. Move the cursor to any of the fields on the bottom line on the display. 

5. Use the Data Entry Control to select the preset you want to copy from. 

6. Press Enter when you have made your selection. The Enter LED is 
flashing indicating that Mo'Phatt is waiting for your response. 

7. The Arp Settings are copied into the current preset. 

This function lets you copy the Arpeggiator pattern from any ROM or RAM 
preset to any RAM (user) pattern. 



COPY RRP PRT from 
96 1 TRRNCED 



PHRTT 



► To Copy the Arpeggiator Pattern 

1. Press the Save/Copy menu button. 

2. Scroll to the Copy Arp Pat screen using the data entry control. 

3. Move the cursor to any of the fields on the bottom line on the display. 

4. Use the Data Entry Control to select the preset you want to copy from. 

5. Press Enter when you have made your selection. 



Overwrite pattern: 
00° No Control 



6. Press Enter, The Arp Pattern is copied into the selected User Pattern. 



Mo'Phatt Operation Manual 187 



Save/Copy Menu 
Multisetups 



Copy 
Preset Bank 



Multisetups 



The Copy Preset Bank command lets you copy an entire bank from any 
ROM or RAM bank location to any RAM (user) bank. This function can be 
especially useful after installing a new sound SIMM. 



COPY BRNK 
From: PHRTT 2 



To: User 1 



^ 



^- 



ROM or RAM 
Preset Location 



Bank No. 



Destination 
Bank No. 



► To Copy a Preset Bank 

1. Press the Save/Copy menu button. 

2. Scroll to the Copy Preset bank screen using the data entry control. 

3. Move the cursor to the "From" field on the bottom line on the display. 

4. Use the Data Entry Control to select the preset bank you want to copy 
from. 

5. Move the cursor to the "To" field on the bottom line on the display. 

6. Use the Data Entry Control to select the User preset bank you want to 
copy into. 

7. Press the Enter/Home button to overwrite the bank. 



A Multisetup is a group of parameters that you might associate with a 
particular sequence or song. It is like a "snapshot" of the current MIDI 
channel configuration of the module. There are 64 setups numbered 0-63. 
All Multisetups are user programmable. 



A Multisetup includes ALL the following parameters: 

• Preset/Volume/Pan/Arp/Beats assignments for each of the 16 MIDI 
channels. 

• Multisetup Name 

• ALL Arp/BEATS Menu Parameters 

• ALL Master Menu Parameters 
except... 

• MIDI Program Change->Preset map 

• User Key Tuning Tables 



188 E-MU Systems 



Save/Copy Menu 
Multisetups 



Restoring 
Multisetups 



Mo'Phatt contains 64 Multisetup locations. These are all User locations 
which you can use to store your own Multisetups. 

Multisetups can also be restored using a MIDI Bank Select command. 
Select: ccOO = 80, cc32 = 00, (dec) then send a Program Change command 
corresponding to the Multisetup you wish to select. 



RESTORE MULTISETUP 
003 Jazz Encounter 



► To Restore (Select) a Multisetup: 

1. From the Save/Copy menu, scroll to the Restore Multisetup screen 
using the data entry control. The menu page most recently selected 
since powering up Mo'Phatt will be displayed. The cursor appears below 
the first character of the screen heading on line one. 

2. Press either cursor button to move the cursor to the bottom line of the 
screen. 

3. Now, use the Data Entry Control to select a Multisetup. The Enter LED 
will be flashing. 

4. Press the Enter button to load the selected Multisetup. 



Multisetup 
Name 



Multisetups can be named to make it easier to remember their purpose. 

1. Scroll to the "Setup Name" screen (shown below) using the Data Entry 
Control. 



MULTISETUP NRME 
020 User Setup 23 



2. Press either cursor button to move the cursor to the bottom line of the 
screen. 

3. Change the characters using the data entry control. Change the cursor 
position using the cursor buttons. 

4. Press Enter or move the cursor to the top line when you're finished 
naming the multisetup. 



Mo'Phatt Operation Manual 189 



Save/Copy Menu 
Multisetups 



Saving 
Multisetups 



Create Random 
Preset 



s*> 



Examine interesting 
presets to learn how they work 
using the Edit menu. 



► To Save a Multisetup: 

1. Set the Preset, Volume, Pan, Arp and Beats settings the way you want 
them for all channels. Set the Master menu parameters the way you 
want them. 

2. Press the Save/Copy button, then scroll to the "Save Setup" screen 
(shown below) using the Data Entry Control. 



5RVE SETUP TO 

020 Destination Multisetup 



3. Press either cursor button to move the cursor to the bottom line of the 
screen. 

4. Now, use the Data Entry Control to select the destination location. The 
Enter LED will be flashing. 

5. Press the Enter button to save the Multisetup. 

This is a great feature which creates a new preset using portions of the ROM 
presets as source material. By merging random presets, really great 
sounding presets can be generated with ease. Use this feature to generate 
wild new sounds, get new programming ideas or just for fun. 



RRNDOMIZE PRESET 
000° Rny User Preset 



User 



► To Create a Random Preset 

1. Press the Save/Copy menu button. 

2. Move the cursor to the bottom line on the display and press Enter. 

3. A new random preset will be created. 

4. Don't like the sound? Press Enter again and a new random sound will 
be generated. 



190 E-MU Systems 



Save/Copy Menu 
Multisetups 



Copy User Bank 
to Flash 



&6 

If there is no Flash SIMM 
in the unit, the error message, 
"Requires Flash SIMM" will be 
displayed. 



This is a special purpose function to be used with the Flash sound 
authoring feature. Flash Sound SIMMs created on an EOS Ultra sampler can 
be used as a custom Mo'Phatt bank. Presets are then created in a User bank. 
When the bank of presets is finished, it can be copied, using this function, 
to the Flash SIMM. Flash SIMMs contain two separate memory locations. 
One of these memories contains the sound samples and the other memory 
can hold four banks of 128 presets. 

WARNING: dangerous voltages are exposed inside Mo'Phatt! Make sure 
power is completely disconnected from Mo'Phatt before removing the top 
panel. Replace the top panel before restoring power to the unit. The two 
sound SIMM sockets in Mo'Phatt, marked and 1, are located behind the 
controller knobs on the circuit board.The destination Flash SIMM must 
be placed in SIMM socket 1. 



COPY USER BRNK TO FLR5H 
From: User To: Flash 2 



► To Copy a User Bank to Flash 

1. Make sure a Flash SIMM is inserted into the extra Mo'Phatt SIMM 
socket. 

2. Press the Save/Copy menu button. 

3. Rotate the Data Entry Control to select the "Copy User Bank" function 
shown above. 

4. Move the cursor to the "From" field and select the User bank that you 
want to copy to the Flash SIMM. 

5. Move the cursor to the "To" field and select the Flash bank that you 
want to contain the User bank. 

6. Press Enter. The Enter LED will flash and the screen below appears. 



Press ENTER to Overwrite 
Flash SIMM Presets 



7. Press Enter again to confirm. The following screen appears: 



COPYING USER BRNK TO FLRSH 
Done. Please Reboot Now. 



8. The Flash presets cannot be used until Mo'Phatt is rebooted (power off 
then on). Reboot the Mo'Phatt and verify that the new Flash bank has 
been properly copied. 



Mo'Phatt Operation Manual 191 



Save/Copy Menu 
Multisetups 



Rename Flash SIMM 



X) The Flash ID is the MSB 
of the MIDI Bank Select 
command used to select the 
Sound Bank. 



If there is no Flash SIMM 
in the unit, the error message, 
"Requires Flash SIMM" will be 
displayed. 



This utility allows you to rename the Flash SIMM and change its ID 
number. Flash SIMMs can have any five letter name you choose. Each Flash 
SIMM in a Mo'Phatt unit must have a unique ID number (106-119). 

The field in the upper right corner selects between multiple Flash SIMMs. If 
only one Flash SIMM is installed, the field cannot be modified. 



6. 



RENRME FLR5H SIMM Flash 

New Name: Drums ID: 110 



1. Make sure a Flash SIMM is inserted in a Mo'Phatt SIMM socket. 

2. Press the Save/Copy menu button. 

3. Rotate the Data Entry Control to select the "Rename Flash SIMM" 
function shown above. 

4. Move the cursor to the "New Name" field and rename the SIMM using 
the Data Entry Control to select the letter and the cursor keys to select 
the position. 

5. Set the Sound ID number for the SIMM. It doesn't matter which 
number you choose as long as the same number isn't used in another 
SIMM. 

Press Enter. The following screen appears and the Enter LED will be 
flashing. 



Press ENTER to Update 
Flash SIMM data 



7. Press Enter again to confirm or any other button to abort. The 
following screen appears: 



CHRNGING SIMM NRME & ID 
(takes about 2 minutes) 



8. The Flash presets cannot be used until Mo'Phatt is rebooted (power off 
then on). Reboot the Mo'Phatt and verify that the new Flash bank has 
been properly renamed. 



192 E-MU Systems 



Save/Copy Menu 
Multisetups 



Duplicate Flash 



&6 

If there are no Flash 
SIMMs in the unit, or if the 
SIMMs are in the wrong slots, 
an error message will be 
displayed. 



This utility allows you to duplicate Flash SIMMs using Mo'Phatt. Both 
Sound and Preset data is copied when a Flash SIMM is duplicated. A factory 
sound SIMM cannot be copied using this utility 

WARNING: dangerous voltages are exposed inside Mo'Phatt! Make sure 
power is completely disconnected from Mo'Phatt before removing the top 
panel. Replace the top panel before restoring power to the unit. 

The two sound SIMM sockets in Mo'Phatt are marked and 1. These are 
located behind the controller knobs on the circuit board. The Flash SIMM 
you want to copy MUST be placed into SIMM Socket 0. The destination 
Flash SIMM must be placed in SIMM socket 1. 



DUPLICRTE SLOT FLR5H 
Start 



1. Make sure the two Flash SIMM are located in the required Mo'Phatt 
SIMM sockets. 

2. Press the Save/Copy menu button. 

3. Rotate the Data Entry Control to select the "Duplicate Flash SIMM" 
screen shown above. 

4. Move the cursor to the bottom line and press Enter. The following 
screen appears and the Enter LED will be flashing. 



Press ENTER to overwrite 
the Flash SIMM in Slot 1 



5. Press Enter again to confirm or any other button to abort. The 
following screen appears and the SIMM is copied. 



DUPLICRTING SLOT -> SLOT 1 
(Takes about 5 minutes) 



6. When Mo'Phatt has finished duplicating the SIMM, turn power off, 
remove the copied SIMM, then reboot. That's it! 



Mo'Phatt Operation Manual 193 



Save/Copy Menu 
Multisetups 



194 E-MU Systems 



Appendix 



Front Panel 

Knob 

Functions 



s*> 



The Front Panel Knobs 
can be reprogrammed for each 
preset and stored in any of the 
User Presets. The functions 
shown here are the factory 
programmed settings. 



This section provides some of the more technical information about 
Mo'Phatt. In this appendix, you will find information about velocity 
curves, MIDI commands and Patchcord charts. 



The front panel knob functions are standardized for most of the factory 
presets. The typical functions of the controller knobs are described below. 
Match the controller knobs on your MIDI controller to the Realtime 
Controller Assignments in the Master menu to control these functions. 



FILTER CUTOFF , 
ATTACK 
WILD 1 



FILTER RES , 
DECAY/RLS 
WILDS 



SHAPE , 
MOVEMENT 
WILD 3 




A/E/l 




B/F/J 




C/G/K 




D/H/L 



Filter Cutoff Filter Frequency 

Filter Res Filter Resonance 

Shape Volume or Filter Envelope Attack 

Image Pitch/Glide/Chorus Amount/Layer Volume 

Attack Volume Envelope Attack Rate 

Decay/Release Volume Envelope Decay or Release Rate 

Movement LFO Amount 

Rate LFO Rate 

Wild 1 BEATS = Busy +/-, Non-BEATS = Filt Env Attack 

Wild 2 BEATS = Variation, Non-BEATS = Filt Env Release 

Wild 3 BEATS = Xpose Grp 1 , Non-BEATS = Arp Velocity 

Wild 4 BEATS = Xpose Grp 4, Non-BEATS = Arp Gate 



Mo'Phatt Operation Manual 195 



Appendix 
Presets 



Presets 

Preset Categories 



The Mo'Phatt presets are organized in categories according to the types of 
sound. Listed below are the categories and their three letter prefixes: 



amb: Ambient 


arp: Arpeggiated 


bas: Basses 


bpm: Synchro-sonic, clocks 


brs: Brass instrument 


bts: BEATS presets 


gtr: Guitar, acoustic or electric 


hit: Short, powerful 


key: Keyboard instrument, organ 


kit: Drum kit 


led: Leads 


pad: Sustained, rich 


rom: Plays thru multiple 
instruments in ROM 


sfx: Sound Effects 


str: Strings 


syn: Synthesizer, harmonically rich 


vox: Vocals 





196 E-MU Systems 



Appendix 
Preset Listing 



Preset Listing 



User Bank 0, PHATTBankO 



0. bts:Becky Boise 

1. bts:The Ultimate 

2. bts:Iced Out 

3. bas:SubLevel 

4. gtr:Wah Getarrs 

5. bts:MooshooClan 

6. key:Chords&Hits 

7. pad: Spirit Call 

8. striGothStrings 

9. bts:Hot n Steamy 

10. bts:8ntUrz 

11. kit : Hive Jiver 

12. syn:Plucky 

13. bas:Slap Pop 

14. gtr:Sexy Slider 

15. pad:Cherubs 

16. bts:I Miss You 

17. vox:the Watcher 

18. key:SOOTCaSE'000 

19. led:Handwormed 

20. sfx:WooleyBOB! 

21 . str:Sincerely 

22. syn:Synelead 

23. syn:Prof Brass 

24. gtr:HardCore 

25. bpm:Clockworx 1 

26. gtr:General'sGtr 

27. syn:SycoGirL 

28. key:Klav Synth 

29. str:MadDramA \ 

30. hitAll 1 

31 . gtr:NyLonArP 

32. gtr:Pinky Fingaz 

33. str:Harpo 

34. pad:Synthetic 

35. bas:YarsRevenge 

36. pad:Blades 

37. brs:SlapdatBrass 

38. key:VINYL 73 

39. key:FAR-FG-NUGEN 

40. syn:LadyOrganl 

41. pad:QuietTime 

42. led:MonoGrunge 



43. gtnLinky Fingaz 

44. str:Ooops! 

45. pad:Nitrogen 

46. str:Pizz Strings 

47. bts:YeaYeaZ 

48. arp:SupermanSaw 

49. key:Orgg Doggie 

50. syn:TinkerToyz 

51 . pad:JP Layer 

52. gtr:BedofFire 

53. key:PhatKlav 

54. bts:Beat Prophet 

55. kit:Betta Beata 

56. led:AHJackedUp! 

57. sfx:SolarBaBies 

58. syn:DeGlown 

59. bts:KattznJammah 

60. kit:MuSic2DrIvBy 

61. gtnSyCoCry 

62. vox:AHTalk 

63. bas:Digger Bass 

64. gtnHeavy 

65. kit:OhYeah 

66. kifcjelly Belly 

67. syn:BoogieBAbY 

68. kit:Cool Guy 

69. kit:FriscoLayer 

70. bts:CreatrLayer 

71. bts:I Miss You 2 

72. bts:VideoGamez 

73. syn:WePhattField 

74. syn:Ohoooo! 

75. sfx:MarsattaksII 

76. key:Sitar88 

77. vox:Agony Agony 

78. vox:Voicyst 

79. syn:WhYMe? 

80. vox:DadeezGAL:) 

81 . amb:Underground 

82. bas:Rez Ripper 

83. pad:DeadMetal 1 

84. key:Org De Borg 

85. key:Piano Jam 



86. key:Tiny Wonders 

87. kit:Obsession 

88. kit:Regal Gate 

89. bas:Fretless 

90. sfx:SickGirl 

91 . sfx:KindaMuddy 

92. syn:SPICEBOY:-) 

93. syn:SuKaButt 

94. str:FadeIt 

95. hit:StrikezAgain 

96. syn:WeirdVox 

97. bas:Box O Bass 

98. bas:Poppy 

99. pad:OuterLimits 

100. str:FakingIt 

101. str:Section 

102. str:Pizz&Sct MW 

103. str:Nightmare 

104. syn:SoftStuff 

105. kit:10HiHatMode 

106. str:MistyStrng 

107. pad:StringLayer 

108. pad:HiQ Skwarez 

109. amb:PeakinHard! 

110. prc:Kix 1 
111.prc:Kix2 

112. prc:Snares 1 

113. preSnares 2 

114. prc:Snares 3 

115. preHats 1 

116. prc:Hats 2 

117. preCymbals 

118. prc:CongasBongos 

119. preClapsnSnaps 

120. prc:Toms 

121. prc:Bells 

122. preClaves 

123. amb:LiquidBatz 

124. preShakeHerz 

125. amb:DeathLaughs 

126. prc:Misc 

127. led:I Saw Worms 



Mo'Phatt Operation Manual 197 



Appendix 
Preset Listing 



Preset Listing 



User Bank 1, PHATT Bank 1 






0. 


bts:TEMPLATE 


43. 


sfx:DownTheDrain 


86. 


bas:Fingered 


1. 


syn:Auto Doom 


44. 


arp:PhiltaSweepa 


87. 


bas:Bagg 


2. 


vox:Zeldas Fault 


45. 


kit:09HiHatMode 


88. 


bas:Distroy 


3. 


pad:Darth Works 


46. 


bas:SubSonicTri 


89. 


bas:Blip 


4. 


key:Harp Klav 


47. 


brs:Brass+Tine 


90. 


bas:Hecho Itter 


5. 


key:Tine Split 


48. 


sfx:YaYaYa 


91. 


bas:Dubby 


6. 


syn:VoxRoller 


49. 


bas:Deeper 


92. 


bas:Dubby 2 


7. 


prc:Rainstick 


50. 


bas:Acid 


93. 


bas:Grit 


8. 


prcWhirlyBird 


51. 


bas:BelowaWoofer 


94. 


bas:Kraft 


9. 


prc:Fills 


52. 


bas:GutPunched 


95. 


bas:Kraft 2 


10. 


prcrShakers 


53. 


kit:WhatYouWant? 


96. 


bas:Technoid 


11. 


prc:Scratches 


54. 


bas:It Too 


97. 


key:PianoJam2 


12. 


prc:SciFi Toy 1 


55. 


brs:Lotsa 


98. 


bas:Plucky 


13. 


prc:SciFi Toy 2 


56. 


bas:Fishy 


99. 


bas:Harpbass 


14. 


amb:PlezLemmeGo! 


57. 


bas:SubOne 


100 


bas:Upright 


15. 


gtr:Gener El 


58. 


btsWide Hive 


101 


gtr:Crybabe 1 


16. 


hit:All 2 


59. 


bas:FuzzSubby 


102 


gtrWacka 


17. 


prc:Thumb Piano 


60. 


bas:SubTwo 


103 


gtrWacka Talkin 


18. 


prc:Per Oct 


61. 


bas:SubThree 


104 


gtrWacka Do 


19. 


prc:PerOctLink 


62. 


bas:SubFour 


105 


gtnChickn'l 


20. 


gtr:NylonFantasy 


63. 


bas:SubFive 


106 


gtnChickn'Dist 


21. 


brs:Crunchy 


64. 


bas:SubSix 


107 


gtr:Chickn'Slide 


22. 


bts:Play Cousin 


65. 


bas:Election 


108 


gtr:Exciteable 


23. 


bas:SubVocoder 


66. 


bas:Acid 2 


109 


gtr:Hen Drix 


24. 


bts:ShakitZ 


67. 


bas:Crandle 


110 


gtr:Lik Delay 


25. 


bts:Girl Watcher 


68. 


bas:Frogged 


111 


gtr:Lik Choppy 


26. 


kit:TribeOMatic 


69. 


bas:Babybass 


112 


gtrWackaloo 


27. 


bas:Standin 


70. 


bas:Soulfuzz 


113 


gtrWillpy 


28. 


str:Ballad Harp 


71. 


bas:Speakeasy 


114 


gtr:Odlil 


29. 


hit:DroppinOff 


72. 


bas:BellyButton 


115 


gtr:YeWah 


30. 


key:CityGiggin 


73. 


bas:KeyOnate 


116 


gtr:Wah DisLik 


31. 


brs:Philta 


74. 


bas:Prophet 


117 


gtr:Wah Not 


32. 


brs:Biggg 


75. 


bas:Persistent 


118 


gtr:Wah Scale 4 


33. 


gtr:WackaParty83 


76. 


bas:Squared 


119 


gtrWah Scale 7 


34. 


gtr:WackaParty2 


77. 


bas:TheoryBass 


120 


gtrWah Upper 


35. 


gtr:Wacka 96 


78. 


bas:MarkOther 


121 


gtr:SpRinkel 


36. 


gtr:Wacka 113 


79. 


bas:Funk Pop 1 


122. bas:EatMe! 


37. 


gtnWacka 3 83 


80. 


bas:Funk Pop 2 


123 


syn:WapperFuzz 


38. 


key: Crunch Klav 


81. 


bas:Velo SlapPop 


124 


syn:Slippery 


39. 


brs:Hitz 


82. 


bas:Funky Finger 


125 


gtr:DirtyNoter 


40. 


bas:Sonic Sine 


83. 


bas:Funky Pik 


126 


kitHappY'Z 


41. 


vox:TB Eweew 


84. 


bas:Funk Wave 


127 


str:Uni Strings 


42. 


gtr:Cyclone 


85. 


bas:Accidental 







198 E-MU Systems 



Appendix 
Preset Listing 



Preset Listing 



User Bank 2, PHATT Bank 2 








0. 


gtr:Wah Walker 


43. 


syn:ReturnToZoo 


86. 


sfx:Syclear 


1. 


syn:Sin Symph 1 


44. 


str:Disco Diva 


87. 


sfx:Reaper 


2. 


gtnMood 


45. 


pad:DanceLitez 


88. 


vox:Ahyeeyah 


3. 


gtnNylon 


46. 


gtr:Weeoww 


89. 


pad:Pulsar 


4. 


gtnNylon 2 


47. 


led:RaveEEEE 


90. 


hit:Carney Hits 


5. 


gtnSlide Hit 


48. 


led:RaveAAHH 


91. 


hit:Brazit 1 


6. 


gtnFine Slide 


49. 


pad:AditivOrgan 


92. 


hit:Brazit 2 


7. 


gtnGrit Slide 


50. 


pad:Trans 


93. 


hit:Brazit 3 


8. 


gtnStrata 


51. 


pad:Narwhal 


94. 


hit:Brazit 4 


9. 


gtnStrum Glass 


52. 


amb:Trippin MW 


95. 


hit:Brazit 5 


10. 


gtr:Flange Pick 


53. 


kitWideOne 


96. 


hit:Spizy 


11. 


gtrrGrunge 


54. 


kitThugltUp 


97. 


pad:Worry 


12. 


gtr:One Shot 


55. 


kit:OnDaStreet 


98. 


str:Orchestsyn 


13. 


gtr:Slo Strum 


56. 


kit:The Wiz 


99. 


syn:Grinder 


14. 


gtrrKraked Tube 


57. 


pad:KnobbyTwirly 


100 


syn:Weeperr 


15. 


gtrrBurnt 


58. 


kit:PhilterFreak 


101 


amb:Seascape 


16. 


gtr:Weezl Fuzz 


59. 


kit:Nu Funk 


102 


sfx:Wet Trippy 


17. 


gtr:Slicer 


60. 


kit:Relapse 


103 


syn:Two Step 


18. 


gtr:Dissed Hit 


61. 


kit:HardStep 


104 


syn:Prosync 


19. 


gtr:Doom 1 


62. 


rom:Play Thru 


105. kit:Mo Dist 


20. 


pad:Drone 1 


63. 


hit:Sweeit 


106. kit:Slappy 


21. 


pad:Drone 2 


64. 


hitKnock U Out 


107 


kit:DarkFlower 


22. 


pad:Drone Swirl 


65. 


hit:Nice Under 


108 


kit:Funk 4 Life 


23. 


pad:Siren Spin 


66. 


hitSplash 


109 


kit:Perky 


24. 


pad:Leon's 


67. 


str:Suspence 


110 


kit:Crunch 


25. 


hit:Guit n Hat 


68. 


key: Growl Drop 


111 


kit:Klippy 


26. 


hit:Satisfying 


69. 


key:HarpsiFlange 


112 


kit:GM Two 


27. 


hit:Org Creept 


70. 


stnHybridSweep 


113 


kit:Subway Tunnel 


28. 


led:Deep Thought 


71. 


key:Kool Kord 


114 


kit:ClasikStudio 


29. 


led: 70's Lead 


72. 


key:Org Roll 


115 


kit:ScratchHead 


30. 


led:Guitlet 


73. 


key:Perk Organ 


116 


kit:FiltrSKRATCH 


31. 


syn:Synthomatic 


74. 


str:Synth String 


117 


kit:Vilper 


32. 


pad:Transform 


75. 


key:Horror Glide 


118 


kit:DubItUp 


33. 


amb:Droning MW 


76. 


brs:Caliente 


119 


kit:NewBeat 


34. 


amb:Rubble MW 


77. 


brs:Trump Slide 


120 


kit:CornaSto' 


35. 


bas:DropOffSinel 


78. 


led:FantasyWormz 


121 


sfx:BlowinUplMW 


36. 


bas:DropOffSine2 


79. 


bts:SpaceBoyZ 


122 


prcScratchMatic 


37. 


key:So Kazual 


80. 


led:Yearning 


123 


kit:Construction 


38. 


hit:Wheely Gal 


81. 


led:Reeder 


124. kit:NuMetal 


39. 


bas:DropOffSine3 


82. 


led:Violetta 


125. bas:Cube Bass 


40. 


bas:DropOffSine4 


83. 


led:Stevie 


126 


bas:Iggio Basso 


41. 


key:Org Basic 


84. 


sfx:Mr.Clean 


127 


syn:Objections 


42. 


key:Klav Mav 


85. 


sfx:Shield 







Mo'Phatt Operation Manual 199 



Appendix 
Preset Listing 



Preset Listing 



User Bank 3, PHATT Bank 3 




0. 


vox:Dronodians C 


43. 


syn:WAWIFLHEAD 


1. 


bts:ItsUAgAIn? 


44. 


vox:Voxcade 


2. 


kit:UainT@&#! 


45. 


key:MO 88 


3. 


bts:AllmyMoMeeS 


46. 


key:SOOTCaSE'300 


4. 


bts:Glo BabieeS 


47. 


arp:Plop 


5. 


bts:Sistahoney 


48. 


key:Doodee 


6. 


bts:IT'SLIKE Dat 


49. 


gtr:Gen X 


7. 


stnStackedLegs 


50. 


key:KeyStonE 


8. 


bts:Q BORO 


51. 


stnVIRGOE 


9. 


vox:SingingTB 


52. 


vox:PretteeeeIII 


10. 


bts:My Girl YO 


53. 


arp : AgonyOrgon 


11. 


kitRiDe E-Z 


54. 


vox:SycoBoy 


12. 


bts:DirTay drTee 


55. 


key:MO'E DAN 


13. 


bts:MounTenbery 


56. 


key:StoneGroove 


14. 


kitSalsA Crunk 


57. 


key:WaThunk 


15. 


vox:FemmeDoTell 


58. 


vox:Vespers 


16. 


kit:Lesster 


59. 


gtr:SprinkleItOn 


17. 


key:NoMoreKlav 


60. 


kit:EasyRider 


18. 


bts:LAST CHANCE 


61. 


syn:WeirdVox2 


19. 


kit:A YO IIGHT 


62. 


kit:Stoopit 


20. 


kit: GOOD MU Sic 


63. 


syn:SilkWerm 


21. 


syn:Sin Symph 2 


64. 


syn:LadyOrgan2 


22. 


bts:MALE BASHER 


65. 


amb:RaveSlave 


23. 


bts:DoitZ 


66. 


amb:MiseryMod 


24. 


kitGuesWho'sBak 


67. 


kit:Young Luv 


25. 


bts:U4 Got ME 


68. 


pad:TheMadSweep 


26. 


vox:Pretteeee.II 


69. 


kit:Woo Kid 


27. 


bts: Dr. Banner 


70. 


pad:JoVox 


28. 


rom:I Like U 


71. 


bas:Razza 


29. 


bts:SmoothoneZ 


72. 


led:RaveLine 


30. 


kit:TiME SquaRe 


73. 


led:SineWorm 


31. 


bts:Oh BaebeeZ 


74. 


led:ProphetLine 


32. 


bts:GrungeZ 


75. 


bts:MO'HAPPYfeet 


33. 


bts:ClapYoHandZ 


76. 


amb:YouPhoned? 


34. 


bts:LaLaZ 


77. 


ambrPhonedAgain? 


35. 


bts:DialToneZ 


78. 


pad:OB Layer 


36. 


str:Sa-Spen Ful 


79. 


amb: VocodAhhh. . . 


37. 


key:Perc Klav 


80. 


key:PhatttTines 


38. 


key:SiMPeL 


81. 


bts:Luvline 1 


39. 


sfx:theHitcher 


82. 


bts:Luvline 2 


40. 


key:Pretteeee... 


83. 


bts:Luvline 3 


41. 


gtr:DaBradies 


84. 


key:CloudKeys 


42. 


amb:CosmicKlasik 


85. 


pad:Luxury 



86. led:GlueTone 

87. kit:MarchMadnezZ 

88. key:Tine Fuzzies 

89. gtr:Voyeur Trax 

90. bts:Boombaa 

91. bts:AstralTravel 

92. key:IntoTheLight 

93. gtr:Psycho 

94. kit: 7 HiHatMode 

95. key:Tine Klav 

96. bts:Geechee GLO 

97. kitWhatUstarted 

98. kit:BabyDoll 

99. bts:New WhirlOdr 

100. bts: Wile U Werk 
101.kit:UNO 

102. bts:HeY ! 

103. kit:My Main Man 

104. bts: Can I Talk 

105. bts:DJGLOJenkn 

106. clk:Clockworx 2 

107. prc:HiHatMono 1 

108. prc:HiHatMono 2 

109. key:Skini Klav 

110. prc:Bells Mono 

111. key:HipHopTinesl 

112. key:HipHopTines2 

113. vox:You 

114. led:Screamer 

115. led:MonoBrass 

116. pad:Chasers MW 

117. pad:LadyPulsar 

118. pad:MeltingHartz 

119. arp:Low&Square 

120. vox:LetsDance 

121. vox:Earth Lisa 

122. gtr:Disturbed 

123. bts:DaPhattest 

124. bts:Sunrise 

125. key:ReBeckTines 

126. bts:LuvJoe'ns 

127. :Defaultvl.O 



200 E-MU Systems 



Appendix 
Instrument Listing 



Instrument 
Listing 



This section lists the raw instruments in the Mo'Phatt ROM set. 
Instruments consist of either multisamples or single samples. 



0. :None 

1. bas:The Deepest 

2. bas:Hummertime 

3. bas:WoofaWrekka 

4. bas:Hella Boom 

5. bas:Decision'99 

6. bas:Acid 1 

7. bas:Acid 2 

8. bas:Crandle 

9. bas:Frog Factory 

10. bas:Talk2MeBaby 

11. bas:Soulified 

12. bas:Speakeasy 

13. bas:Warm Welcome 

14. bas:Belly-Button 

15. bas:KeyONate 

16. bas:TheOtherMarc 

17. bas:Closer To It 

18. bas:Fish Fry 

19. bas:Prophet 

20. bas:In Theory 

21. bas:Persistence 

22. bas:Funk Pop 1 

23. bas:FunkPop2 

24. bas:Funk Slap 

25. bas:SlapPopSwtch 

26. bas:Funk Finger 

27. bas:Funk Hollow 

28. bas:Funk Pick 

29. bas:Funk Wave 1 

30. bas:Funk Wave 2 

31. bas:Accidental 

32. bas:Finger Bass 

33. bas:Bagg 

34. bas:Destroyer 

35. bas:Blipp 

36. bas:Echo Hitter 

37. bas:DubbyDoRite 

38. bas:Dub 2 

39. bas:GrittyStanda 

40. bas:Gritty Pulla 

41. bas:Krafty 1 



42. 


bas:Krafty 2 


84. 


gtr:Wah Scale 2 


43. 


bas:Swing Hitter 


85. 


gtr:Wah Scale 3 


44. 


basTechnoid 


86. 


gtr:Wah Scale 4 


45. 


bas:Bender Hit 


87. 


gtr:Wah Scale 5 


46. 


bas:Synth Boom 


88. 


gtr:Wah Scale 6 


47. 


bas:PluckySynth 


89. 


gtr:Wah Scale 7 


48. 


bas:HarpOneShotl 


90. 


gtr:Wah Scaler 


49. 


bas:HarpOneShot2 


91. 


gtr:Wah Scaler 2 


50. 


bas:HarpOneShot3 


92. 


gtr:WahSurprised 


51. 


bas:Upright One 


93. 


gtr:Wah Upper 


52. 


bas:SP Stand-Up 


94. 


gtr:Walk On Waka 


53. 


bas:Bass Slide 


95. 


gtr:Walker Wah 


54. 


bas:FX F#0-B0 


96. 


gtr:Wuckit 


55. 


gtr:All Wahs 


97. 


gtr:Funky Likka 


56. 


gtr: Crybaby Wahl 


98. 


gtr:Squawk Hit 


57. 


gtr: Crybaby Wah2 


99. 


gtr:Vinyl Mood 


58. 


gtr: 5 strkchuck83 


100 


gtr:l Note Mute 


59. 


gtr: Wow Wacka 83 


101 


gtr:RapNylonWave 


60. 


gtr:WackaGruv283 


102 


gtr:R&B NylonWav 


61. 


gtr:Wah Jan 83 


103 


gtr:EffectsDO-BO 


62. 


gtnWacka 96bpm 


104 


gtr:Happy Strum 


63. 


gtr:Wah 96 2 


105 


gtr:Sexy Slide 1 


64. 


gtnWah 96 3 


106 


gtr:Sexy Slide 2 


65. 


gtr: Cool WaRif 113 


107 


gtr:2StrokeStrum 


66. 


gtr: WACKA Do 113 


108 


gtr:Fast Slider 


67. 


gtr: 113 Wackaloo 


109 


gtr:Fine Slider 


68. 


gtnWah Coming 


110 


gtr:Nln Strum Dn 


69. 


gtr:Chickenpickr 


111 


gtr:Gritty Slide 


70. 


gtnChickjacked 


112 


gtr:Knock 1 


71. 


gtr:Chucka Run 


113 


gtr:Knock 2 


72. 


gtr:ExcitableWah 


114 


gtr:Squeak 1 


73. 


gtr:Hendrix Wah 


115 


gtr:Squeak 2 


74. 


gtnLikethisLik 


116 


gtr:General Elec 


75. 


gtr:Lil' Chopper 


117 


gtr:Strat 1 Shot 


76. 


gtr:Lil' Chukka 


118 


gtr:NotherElWave 


77. 


gtnLil Wah Run 


119 


gtr:Dis One Notr 


78. 


gtr:Oddlilhitter 


120 


gtr:Funk Pop 


79. 


gtr:Oh YEahWah 


121 


gtr:Pop 2 


80. 


gtr: Versa Wa 


122 


gtr:Chord Bed 


81. 


gtr: Wah LikDis 


123 


gtr:Krackly Kord 


82. 


gtr: Wah Not? 


124 


gtr:Amp Noise 


83. 


gtr:Wah Scale 1 


125 


gtr:Amp Ped 



Mo'Phatt Operation Manual 201 



Appendix 
Instrument Listing 



Instrument Listing 



127. 


gtr:All Burners 


172. 


hit:Sweetness 1 


128. 


gtr:Hardcore 


173. 


hit:Sweetness 2 


129. 


gtr:Psycho Noise 


174. 


hit:QuirkyDrmBed 


130. 


gtr:Fuzz Tone 


175. 


hit:Intro Beat 


131. 


gtr:Slicer 


176. 


hit:Knock U Out! 


132. 


gtr:Dissed Hit 


177. 


hit:Blip 


133. 


gtr:Doooom 


178. 


hit:Caprice 


134. 


pad:Drone 1 


179. 


hit:Sax Line 


135. 


pad:Drone 2 


180. 


gtr:Owp Hit 


136. 


pad:Drone 3 


181. 


hit:Bottom 1 


137. 


pad:Sirens 


182. 


hit:Bottom 2 


138. 


hit:Guit n Hat 


183. 


hit:Nice Under 


139. 


hit:Wah Kicker 


184. 


hit:Nice Under 2 


140. 


hit:Satisfying 


185. 


hit:Righteous 


141. 


hit:SP120rgChord 


186. 


sfx:Cop Tone 1 


142. 


hitWeird Gtr 


187. 


sfx:Cop Tone 2 


143. 


led:DeepThoughts 


188. 


sfx:Beep Tone 1 


144. 


led:Fantastic70s 


189. 


sfx:Beep Tone 2 


145. 


led:Guitlet Wave 


190. 


sfx:ComputerBeep 


146. 


syn:Synthomatic 


191. 


sfx:Ping Beep 


147. 


led:Transformed 


192. 


hit:Key Kord min 


148. 


brs:Caliente! 


193. 


hit:X 


149. 


hit:Tpt Solo 


194. 


hit:Honk 


150. 


led:Hoodwormed 


195. 


sfx:Dial 8 


151. 


led:Yearning 2 B 


196. 


sfx:Dial 6 


152. 


led:ReedOPlenty 


197. 


sfx:Dial 5 


153. 


led:AmberVioleta 


198. 


sfx:Dial 4 


154. 


led:Stevie Rockz 


199. 


sfx:Dial 3 


155. 


pad:Mr. Clean 


200. 


sfx:Dial 2 


156. 


sfx:Shield 


201. 


sfx:Dial 1 


157. 


sfx:Deadly Cycle 


202. 


hit:Annoy 


158. 


sfx:Reaper 


203. 


hit:Orchit 


159. 


vox:Atseeyeah 


204. 


brs:Waver Stab 


160. 


pad:Pulsar 


205. 


brs:40's Horn 


161. 


gtr:lShotElectra 


206. 


sfx:Bat 


162. 


brs:CarnavalHits 


207. 


hit:Bass Note 


163. 


brs:Carnaval 1 


208. 


hit:Hatthang 


164. 


brs:Carnaval 2 


209. 


sfxAmusemntCrwd 


165. 


brs:Carnaval 3 


210. 


hit:SynChord 


166. 


brs:Carnaval 4 


211. 


hit:Synthetic 


167. 


brs:Carnaval 5 


212. 


hit:Padlove 


168. 


hit:Spicy Brass 


213. 


hit:8 Bit Fright 


169. 


sfx:Worry Pad 


214. 


hit:Synth Ditty 


170. 


str:Orcha Chord 


215. 


hitHouse Chrd ? 


171. 


hit:DeathStrike 


216. 


hit:HornStabber 



217. brs:Stabber 

218. sfx:JungleWiggly 

219. sfx:Wet Tripper 

220. hit:Dum Dum 1 

221. hit:DumDum2 

222. hitjungle 

223. hit:Bongo Fury 

224. hit:DropOff 

225. syn:2 Step 

226. hitthe Snap 

227. sfx:HookReverse 

228. brs:Tasty Lick 

229. brs:Next Tasty 1 

230. brs:NotherTasty 

231. brs:Next Tasty 2 

232. syn:Flutey 

233. hit:Brass Attack 

234. gtr: Single Next 

235. brs:Falling 

236. brs:Sfz 

237. syn: Grinder 

238. hit:HardSynStabl 

239. hit:HardSynStab2 

240. brs: Quirky Hit 

241. hit:StressRelief 

242. hit:Korn 

243. syn:Wheeeeper 

244. hitlt'sA... 

245. hitrlt's A nothr 

246. hit:Rap Zapper 

247. hitrUplifter 

248. hit:Good'Nuff 

249. hit:Laser Strike 

250. hit:Wild Horns 

251. hit:Cluster 

252. hit:To the Point 

253. hit:Tentative 

254. hit:Mood Swing 

255. syn:Sea Story 

256. str:Fade Hit 

257. hit:Sentimental 

258. hit:DeD RINGER 

259. hit:Chord Ends 

260. hit:Monster 

261. hit:SP Super 



202 E-MU Systems 



Appendix 
Instrument Listing 



Instrument Listing 



262. hit:With2Tts 

263. hit:Splashy 

264. str:SP Suspense 

265. hitWeird Nylon 

266. hit:Sp Reversal 

267. gtr:MoodRiff 

268. syn:BrassProphet 

269. pad:Plucked Gold 

270. syn:Winny 

271. syn:P5 Sync 

272. wav:Sinusoid 

273. wav:Sine A 2 

274. wav:SineInvrt/\2 

275. wav:Sine /\ 3 

276. wav:SineInvrt/\3 

277. wav:Sawtooth 

278. wav:Square 

279. wav:Triangle 

280. key:010 El Tine 

281. key:l Note Mello 

282. key:NotherlNoter 

283. key:010 FuzzTine 

284. key:Res 1 Shot 

285. key:Chords/Hits 

286. key:KoolOrgKordl 

287. key:Kool Kord 2 

288. key:Rhodes FX 1 

289. key:WindownLetGo 

290. key:Loop da Loop 

291. key:Growl Drop 

292. key:Org Roll 1 

293. key:Harpsinote 

294. hit:DanceKeyl 

295. hit:DanceKey2 

296. hit:DanceKey3 

297. hit:DanceKey4 

298. hit:DanceKey5 

299. hit:Organ 

300. hit:Maj Org 

301. hit:DirtyTine 

302. hit:Piano Lick 

303. hit:In Concert 

304. key:Kool Kord 

305. key:Nother 'No 

306. key:Perc Organ 



307. str:Interrupted 

308. str:Section Pizz 

309. str:Orch Harp 

310. str:Hybrid Synth 

311. str:Sctn Legato 

312. str:Synthetic 

313. str:MoodChrdStab 

314. str:Mood Stab 2 

315. str:Harp Gliss 

316. str:Screenplay 

317. str:Sp Loooopy 

318. hit:Brass Balls 

319. str:Hip Hop Pizz 

320. str:Big PluckHit 

321. str:Rap OrchRiff 

322. str:Heartbreaker 

323. vox:TB Ooh! 1 

324. vox:TB Ooh! 2 

325. vox:Talk Box Ooh 

326. vox:Talk Box Aha 

327. vox:Freak! 

328. vox:TBLet'sDance 

329. vox:Booms! 

330. vox:Doit! 

331. vox:Oh Yeahs! 

332. vox:Dan Cher 1 

333. vox:Dan Cher 2 

334. vox:Funky 1 

335. vox:Funky 2 

336. vox:All Vowels 

337. vox:AHNTPVowels 

338. vox:VowelEachOct 

339. vox:Vowel Train 

340. vox:Vowel Train2 

341. vox: Vocoder 

342. vox:All Men 

343. vox:All Femmes 

344. vox:Owwwwwwww 

345. vox:Screamer 

346. vox:YahWailer 

347. vox:Wassup??? 

348. vox:Techno Yeah 

349. vox:Scratch Talk 

350. hit:Scratch Box 

351. vox:Podge 



352. syn:Vox Pad 

353. vox:TB Pad 1 

354. vox:TB Pad 2 

355. vox:Talk Brush 

356. gtr:DistantCry 

357. gtr:Heavy 

358. syn:Vox Roller 

359. vox:TB Boom 1 

360. vox:TB Boom 2 

361. vox:TBBoom3 

362. vox:TB Boom 4 

363. vox:TB Boom 5 

364. vox:TB Boom 6 

365. vox:TB Do It 1 

366. vox:TB Do It 2 

367. vox:TB Do It 3 

368. vox:TB Do It 4 

369. vox:TB Do It 5 

370. vox:TB Oh Yeah 1 

371. vox:TB Oh Yeah 2 

372. vox:TB Oh Yeah 3 

373. vox:TB Oh Yeah 4 

374. vox:TB Oh Yeah 5 

375. vox:TB Oh Yeah 6 

376. vox:TB Oh Yeah 7 

377. vox:TB Vowel A 

378. vox:TB Vowel E 

379. vox:TB Vowel I 

380. vox:TB Vowel O 

381. vox:TB Vowel U 

382. vox:TB Vowel Ah 

383. vox:TB Vowel Eh 

384. vox:TB Vowel Uh 

385. vox:TB Vowel Oo 

386. vox:Gina Ew 1 

387. vox:Gina Ew 2 

388. vox:Earth Lisa 

389. vox:Male 1 

390. vox:Male 2 

391. vox:Male 3 

392. vox:Male 4 

393. vox:Male 5 

394. vox:Male 6 

395. vox:Male 7 

396. vox:Male 8 



Mo'Phatt Operation Manual 203 



Appendix 
Instrument Listing 



Instrument Listing 



397. vox:Male 9 

398. vox:Male 10 

399. vox:Femme 1 

400. vox:Femme 2 

401. vox:Femme 3 

402. vox:Femme 4 

403. vox:Femme 5 

404. vox:Femme 6 

405. vox:Femme 7 

406. vox:Femme 8 

407. vox:Femme 9 

408. vox:Femme 10 

409. vox:Femme 11 

410. vox:Femme 12 

411. vox:Femme 13 

412. key:Farfisa Low 

413. key:Farfisa 

41 4. key: Vox Organ 

415. key:Organ 1 

416. key:Organ 2 

417. key:Org Day 

418. key:OrgNod 

419. key:Org Lite 

420. key:Disco Organ 

421. key:DX Organ 

422. key:JX Organ 

423. led:Full Force 

424. syn:Brite Brass 

425. syn:Muted Brass 

426. syn:Classic 1 

427. syn:Classic 2 

428. syn:EdgyVeryEdgy 

429. syn:Tone Wall 

430. synjungle Lead 

431. led:Wormy 1 

432. led:Wormy 2 

433. led:Wormy 3 

434. led:H20 

435. syn:Wave Cutter 

436. syn:Rail to Rail 

437. key:Klavin It 

438. key:Klav Love 

439. key:Klav Love b 

440. syn:Buzz Wave 

441 . prc:All Kicks 1 



442. 


prc:All Kicks 2 


487. 


kitLily GM5 


443. 


prc:Kicks2 Tuned 


488. 


kit:Funky GM One 


444. 


prc:All Snares 1 


489. 


kit:Funky GM 2 


445. 


prc:All Snares 2 


490. 


kit:Funky GM 3 


446. 


prc:All Snares 3 


491. 


kit: Funky 4 


447. 


prc:KikSnarePlcl 


492. 


kit: Funky 5 


448. 


prc:All Hats 1 


493. 


kit: Funky 6 


449. 


preAll Hats 2 


494. 


pre: Kick 1 


450. 


prc:All Cymbals 


495. 


pre: Kick 2 


451. 


prc:Rainstick 


496. 


pre: Kick 3 


452. 


prc:Whirlybird 


497. 


pre: Kick 4 


453. 


pre: All Stix 


498. 


pre: Kick 5 


454. 


prc:All Bongos 


499. 


pre: Kick 6 


455. 


prc:AHClaps&Snp 


500. 


pre: Kick 7 


456. 


prc:All Claves 


501. 


pre: Kick 8 


457. 


preAll Toms 


502. 


pre: Kick 9 


458. 


preAll Bells 


503. 


pre: Kick 10 


459. 


preAll Fills 


504. 


pre: Kick 11 


460. 


preAll Shakers 


505. 


pre: Kick 12 


461. 


scr:AHScratches 


506. 


pre: Kick 13 


462. 


prc:All Misc 


507. 


pre: Kick 14 


463. 


sfx:ScaryBastard 


508. 


pre: Kick 15 


464. 


preSci Fi Toy 1 


509. 


pre: Kick 16 


465. 


preSci Fi Toy 2 


510. 


pre: Kick 17 


466. 


preThumpiano 


511. 


pre: Kick 18 


467. 


scr: Scratch Map 


512. 


pre: Kick 19 


468. 


scr: Scratch Talk 


513. 


pre: Kick 20 


469. 


scnRodeo Roper 


514. 


pre: Kick 21 


470. 


scr: ChipmunkRap 


515. 


pre: Kick 22 


471. 


scr:StuttrSteppr 


516. 


pre: Kick 23 


472. 


scr:Whale Backer 


517. 


pre: Kick 24 


473. 


scr:Nother Drop 


518. 


pre: Kick 25 


474. 


scr: Hiccup 


519. 


preKick 26 


475. 


scr: Rotator 


520. 


pre: Kick 27 


476. 


scnHard Drop 


521. 


pre: Kick 28 


477. 


preShaker Loop 


522. 


pre: Kick 29 


478. 


prc:St Flexi 1 


523. 


preKick 30 


479. 


preFlexi 2 


524. 


pre: Kick 31 


480. 


prc:Flexi 3 


525. 


pre: Kick 32 


481. 


prc:Flexi 4 


526. 


pre: Kick 33 


482. 


preFlexi 5 


527. 


pre: Kick 34 


483. 


kit:Lily GM1 


528. 


pre: Kick 35 


484. 


kit:Lily GM2 


529. 


pre: Kick 36 


485. 


kit:Lily GM3 


530. 


pre: Kick 37 


486. 


kit:Lily GM4 


531. 


pre: Kick 38 



204 E-MU Systems 



Appendix 
Instrument Listing 



Instrument Listing 



532. pre: 

533. pre: 

534. pre: 

535. pre: 

536. pre: 

537. pre: 

538. pre: 

539. pre: 

540. pre: 

541. pre: 

542. pre: 

543. pre: 

544. pre: 

545. pre: 

546. pre: 

547. pre: 

548. pre: 

549. pre: 

550. pre: 

551. pre: 

552. pre: 

553. pre: 

554. pre: 

555. pre: 

556. pre: 

557. pre: 

558. pre: 

559. pre: 

560. pre: 

561. pre: 

562. pre: 

563. pre: 

564. pre: 

565. pre: 

566. pre: 

567. pre: 

568. key: 

569. key: 

570. key 

571. key: 

572. key: 

573. key: 

574. key: 

575. key: 



Kick 39 
Kick 40 
Kick 41 
Kick 42 
Kick 43 
Kick 44 
Kick 45 
Kick 46 
Kick 47 
Kick 48 
Kick 49 
Kick 50 
Kick 51 
Kick 52 
Kick 53 
Kick 54 
Kick 55 
Kick 56 
Kick 57 
Kick 58 
Kick 59 
Kick 60 
Kick 61 
Kick 62 
Kick 63 
Kick 64 
Kick 65 
Kick 66 
Kick 67 
Kick 68 
Kick 69 
Kick 70 
Kick 71 
Kick 72 
Kick 73 
Kick 74 
:Tine Chord 1 
:Tine Chord 2 
:Tine Chord 3 
:Tine Chord 4 
:Tine Chord 5 
:Tine Chord 6 
:Tine Chord 7 
:Tine Hit 1 



576 
577 
578 
579 
580 
581 
582 
583 
584 
585 
586 
587 
588 
589 
590 
591 
592 
593 
594 
595 
596 
597 
598 
599 
600 
601 
602 
603 
604 
605 
606 
607 
608 
609 
610 
611 
612 
613 
614 
615 
616 
617 
618 
619 



key 
key 
key 
key 
key 
key 
pre: 
pre: 
pre: 
pre: 
pre: 
pre: 
pre: 
pre: 
pre: 
pre: 
pre: 
pre: 
pre: 
pre: 
pre: 
pre: 
pre: 
pre 
pre: 
pre: 
pre: 
pre: 
pre: 
pre: 
pre: 
pre: 
pre 
pre 
pre 
pre: 
pre: 
pre: 
pre: 
pre: 
pre: 
pre: 
pre: 
pre: 



Tine Hit 2 
Tine Hit 3 
Tine Hit 4 
:Tine Hit 5 
:Tine Hit 6 
Tine Hit 7 
Snare 1 
Snare 2 
Snare 3 
Snare 4 
Snare 5 
Snare 6 
Snare 7 
Snare 8 
Snare 9 
Snare 10 
Snare 11 
Snare 12 
Snare 13 
Snare 14 
Snare 15 
Snare 16 
Snare 17 
Snare 18 
Snare 19 
Snare 20 
Snare 21 
Snare 22 
Snare 23 
Snare 24 
Snare 25 
Snare 26 
Snare 27 
Snare 28 
Snare 29 
Snare 30 
Snare 31 
Snare 32 
Snare 33 
Snare 34 
Snare 35 
Snare 36 
Snare 37 
Snare 38 



620. pre: 

621. pre: 

622. pre: 

623. pre: 

624. pre: 

625. pre: 

626. pre: 

627. pre: 

628. pre: 

629. pre: 

630. pre: 

631. pre: 

632. pre: 

633. pre: 

634. pre: 

635. pre: 

636. pre: 

637. pre: 

638. pre: 

639. pre: 

640. pre: 

641 . pre: 

642. pre 

643. pre: 

644. pre: 

645. pre: 

646. pre: 

647. pre: 

648. pre: 

649. pre: 

650. pre: 

651. pre: 

652. pre: 

653. pre: 

654. pre: 

655. pre 

656. pre: 

657. pre: 

658. pre: 

659. pre: 

660. pre: 

661. pre: 

662. pre: 

663. pre: 



Snare 39 
Snare 40 
Snare 41 
Snare 42 
Snare 43 
Snare 44 
Snare 45 
Snare 46 
Snare 47 
Snare 48 
Snare 49 
Snare 50 
Snare 51 
Snare 52 
Snare 53 
Snare 54 
Snare 55 
Snare 56 
Snare 57 
Snare 58 
Snare 59 
Snare 60 
Snare 61 
Snare 62 
Snare 63 
Snare 64 
Snare 65 
Snare 66 
Snare 67 
Snare 68 
Snare 69 
Snare 70 
Snare 71 
Snare 72 
Snare 73 
Snare 74 
Snare 75 
Snare 76 
Snare 77 
Snare 78 
Snare 79 
Snare 80 
Snare 81 
Snare 82 



Mo'Phatt Operation Manual 205 



Appendix 
Instrument Listing 



Instrument Listing 



664. pre: 

665. pre: 

666. pre: 

667. pre: 

668. pre: 

669. pre: 

670. pre: 

671. pre; 

672. pre: 

673. pre; 

674. pre; 

675. pre: 

676. pre: 

677. pre: 

678. pre: 

679. pre: 

680. pre: 

681. pre: 

682. pre: 

683. pre: 

684. pre; 

685. pre: 

686. pre: 

687. pre; 

688. pre: 

689. pre: 

690. pre: 

691. pre; 

692. pre: 

693. pre: 

694. pre; 

695. pre: 

696. pre: 

697. pre; 

698. pre: 

699. pre: 

700. pre: 

701. pre: 

702. pre: 

703. pre: 

704. pre: 

705. pre: 

706. pre: 

707. pre; 



Snare 83 
Snare 84 
Snare 85 
Snare 86 
Snare 87 
Snare 88 
Snare 89 
Snare 90 
Snare 91 
Snare 92 
Snare 93 
Snare 94 
Snare 95 
Snare 96 
Snare 97 
Snare 98 
Snare 99 
Snare 100 
Snare 101 
Snare 102 
Snare 103 
Snare 104 
Snare 105 
Snare 106 
Snare 107 
Snare 108 
Snare 109 
Snare 110 
Snare 111 
Snare 112 
Snare 113 
Snare 114 
Snare 115 
Snare 116 
Snare 117 
Snare 118 
Snare 119 
Snare 120 
Snare 121 
Snare 122 
Snare 123 
Snare 124 
Snare 125 
Snare 126 



708 
709 
710 
711 
712 
713 
714 
715 
716 
717 
718 
719 
720 
721 
722 
723 
724 
725 
726 
727 
728 
729 
730 
731 
732 
733 
734 
735 
736 
737 
738 
739 
740 
741 
742 
743 
744 
745 
746 
747 
748 
749 
750 
751 



prc:Snare 127 
prc:Snare 128 
prc:Snare 129 
prc:Snare 130 
prc:Snare 131 
prc:Snare 132 
prc:Snare 133 
prc:Snare 134 
prc:Snare 135 
prc:Snare 136 
prc:Snare 137 
prc:Snare 138 
prc:Snare 139 
prc:Snare 140 
prc:Snare 141 
prc:Snare 142 
prc:Snare 143 
prc:Snare 144 
prc:Snare 145 
prc:Snare 146 
prc:Snare 147 
prc:Snare 148 
prc:Snare 149 
prc:Snare 150 
prc:Snare 151 
prc:Snare 152 
prc:Snare 153 
prc:Snare 154 
prc:Snare 155 
prc:Snare 156 
prc:Snare 157 
prc:Snare 158 
prc:Snare 159 
prc:Snare 160 
prc:Snare 161 
prc:Snare 162 
prc:Snare 163 
prc:Snare 164 
prc:Snare 165 

::Snare 166 

::Snare 167 

::Snare 168 

:Nu Soul 

;80s+Drm&Bass 



pre:,' 

pre: 

pre 

kit: 

kit: 



752. kit:Electronical 

753. kit:Dub Reggae 

754. kit:DarkBeats 

755. kit:DarkBeats2 

756. kit:LoFiKit 

757. kit:Nu Metal 

758. hit:All Hits 1 

759. rom:Thru Memory 

760. rom:Vowels 

761. hit:AHHits2 

762. kit:lNoHats 

763. kit:lNoKickSnare 

764. kit:2NoHats 

765. kit:2NoKickSnare 

766. kit:3NoHats 

767. kit:3NoKickSnare 

768. kit:4NoHats 

769. kit:4NoKickSnare 

770. kit:5NoHats 

771. kit:5NoKickSnare 

772. kit:6NoHats 

773. kit:6NoKickSnare 

774. kit:7NoHats 

775. kit:7NoKickSnare 

776. kit:8NoHats 

777. kit:8NoKickSnare 

778. kit:9NoHats 

779. kit:9NoKickSnare 

780. kitlONoHats 

781. kit:10NoKikSnare 

782. kit:llNoHats 

783. kit:llNoKikSnare 

784. kit:12NoHats 

785. kit:12NoKikSnare 

786. kit:13NoHats 

787. kit:13NoKikSnare 

788. kit:14NoHats 

789. kit:14NoKikSnare 

790. kit:15NoHats 

791. kit:15NoKikSnare 

792. kit:16NoHats 

793. kit:16NoKikSnare 

794. kit:17NoHats 

795. kit:17NoKikSnare 



206 E-MU Systems 



Appendix 
Instrument Listing 



Instrument Listing 



796. 


kit:18NoHats 


840. 


preHat 33 


797. 


kit:18NoKikSnare 


841. 


preHat 34 


798. 


kit:19NoHats 


842. 


preHat 35 


799. 


kit:19NoKikSnare 


843. 


preHat 36 


800. 


gtr:Scrape 1 


844. 


preHat 37 


801. 


gtr:Strum Up 


845. 


preHat 38 


802. 


gtr:Strum Down 


846. 


preHat 39 


803. 


gtr:Bonk 


847. 


preHat 40 


804. 


gtr:Chop 


848. 


preHat 41 


805. 


gtr:Pick Noise 


849. 


preHat 42 


806. 


vox:All Talkbox 


850. 


preHat 43 


807. 


str:StackedLegs 


851. 


preHat 44 


808. 


preHat 1 


852. 


preHat 45 


809. 


prc:Hat 2 


853. 


preHat 46 


810. 


preHat 3 


854. 


preHat 47 


811. 


preHat 4 


855. 


preHat 48 


812. 


preHat 5 


856. 


preHat 49 


813. 


preHat 6 


857. 


preHat 50 


814. 


preHat 7 


858. 


preHat 51 


815. 


preHat 8 


859. 


preHat 52 


816. 


preHat 9 


860. 


preHat 53 


817. 


preHat 10 


861. 


preHat 54 


818. 


preHat 11 


862. 


preHat 55 


819. 


preHat 12 


863. 


preHat 56 


820. 


preHat 13 


864. 


preHat 57 


821. 


preHat 14 


865. 


preHat 58 


822. 


preHat 15 


866. 


preHat 59 


823. 


preHat 16 


867. 


preHat 60 


824. 


preHat 17 


868. 


preHat 61 


825. 


preHat 18 


869. 


preHat 62 


826. 


preHat 19 


870. 


preHat 63 


827. 


preHat 20 


871. 


preHat 64 


828. 


preHat 21 


872. 


preHat 65 


829. 


preHat 22 


873. 


preHat 66 


830. 


preHat 23 


874. 


preHat 67 


831. 


preHat 24 


875. 


preHat 68 


832. 


preHat 25 


876. 


preHat 69 


833. 


preHat 26 


877. 


preHat 70 


834. 


preHat 27 


878. 


preHat 71 


835. 


preHat 28 


879. 


preHat 72 


836. 


preHat 29 


880. 


preHat 73 


837. 


preHat 30 


881. 


preHat 74 


838. 


preHat 31 


882. 


preHat 75 


839. 


preHat 32 


883. 


preHat 76 



884. pre: 

885. pre 

886. pre: 

887. pre: 

888. pre: 

889. pre: 

890. pre: 

891. pre: 

892. pre: 

893. pre: 

894. pre: 

895. pre: 

896. pre: 

897. pre: 

898. pre: 

899. pre: 

900. pre: 

901. pre: 

902. pre: 

903. pre: 

904. pre 

905. pre: 

906. pre: 

907. pre: 

908. pre: 

909. pre: 

910. pre: 

911. pre: 

912. pre: 

913. pre: 

914. pre: 

915. pre: 

916. pre: 

917. pre: 

918. pre: 

919. pre: 

920. pre: 

921. pre: 

922. pre: 

923. pre: 

924. pre: 

925. pre: 

926. pre: 

927. pre: 



Hat 77 
Cymbal 1 
Cymbal 2 
Cymbal 3 
Cymbal 4 
Cymbal 5 
Cymbal 6 
Cymbal 7 
Cymbal 8 
Cymbal 9 
Cymbal 10 
Cymbal 11 
Cymbal 12 
Cymbal 13 
Cymbal 14 
Cymbal 15 
Cymbal 16 
Cymbal 17 
Cymbal 18 
Cymbal 19 
Cymbal 20 
Bongo 1 
Bongo 2 
Bongo 3 
Bongo 4 
Bongo 5 
Bongo 6 
Bongo 7 
Bongo 8 
Bongo 9 
Bongo 10 
Bongo 11 
Bongo 12 
Bongo 13 
Bongo 14 
Bongo 15 
Bongo 16 
Bongo 17 
Claps&Snp 1 
Claps&Snp 2 
Claps&Snp 3 
Claps&Snp 4 
Claps&Snp 5 
Claps&Snp 6 



Mo'Phatt Operation Manual 207 



Appendix 
Instrument Listing 



Instrument Listing 



928. pre: 

929. pre: 

930. pre: 

931. pre: 

932. pre: 

933. pre: 

934. pre: 

935. pre: 

936. pre: 

937. pre; 

938. pre: 

939. pre: 

940. pre: 

941. pre: 

942. pre: 

943. pre: 

944. pre: 

945. pre: 

946. pre: 

947. pre: 

948. pre: 

949. pre: 

950. pre: 

951. pre; 

952. pre: 

953. pre: 

954. pre: 

955. pre: 

956. pre: 

957. pre; 

958. pre: 

959. pre: 

960. pre: 

961. pre; 

962. pre: 

963. pre 

964. pre; 

965. pre: 

966. pre: 

967. pre: 

968. pre: 

969. pre: 

970. pre: 

971. pre: 



Claps&Snp 7 
Claps&Snp 8 
Claps&Snp 9 
Claps&Snp 10 
Claps&Snp 11 
Claps&Snp 12 
Claps&Snp 13 
Claps&Snp 14 
Clave 1 
Clave 2 
Clave 3 
Clave 4 
Clave 5 
Clave 6 
Clave 7 
Clave 8 
Clave 9 
Clave 10 
Clave 11 
Clave 12 
Clave 13 
Clave 14 
Clave 15 
Clave 16 
Clave 17 
Tom 1 
Tom 2 
Tom 3 
Tom 4 
Tom 5 
Tom 6 
Tom 7 
Tom 8 
Tom 9 
Tom 10 
Tom 11 
Tom 12 
Tom 13 
Tom 14 
Tom 15 
Tom 16 
Tom 17 
Tom 18 
Tom 19 



972. pre: 

973. pre: 

974. pre: 

975. pre: 

976. pre: 

977. pre: 

978. pre: 

979. pre: 

980. pre 

981. pre: 

982. pre 

983. pre: 

984. pre: 

985. pre: 

986. pre 

987. pre: 

988. pre: 

989. pre: 

990. pre: 

991. pre: 

992. pre: 

993. pre: 

994. pre: 

995. pre: 

996. pre: 

997. pre: 

998. pre: 

999. pre: 

1000. pre: 

1001. pre: 

1002. pre: 

1003. pre: 

1004. pre: 

1005. pre: 

1006. pre: 

1007. pre: 

1008. pre: 

1009. pre: 

1010. pre 

1011. pre: 

1012. pre 

1013. pre: 

1014. pre: 

1015. pre: 



Tom 20 
Tom 21 
Tom 22 



Bel 
Bel 
Bel 
Bel 
Bel 
Bel 
Bel 
Bel 
Bel 
Bel 
Bel 
Bel 
Bel 
Bel 
Bel 
Bel 



10 

11 

12 

13 

14 

15 

16 
Fill Etc 1 
Fill Etc 2 
Fill Etc 3 
Fill Etc 4 
Fill Etc 5 
Fill Etc 6 
Fill Etc 7 
Fill Etc 8 
Fill Etc 9 
Fill Etc 10 
Fill Etc 11 
Shaker 1 
Shaker 2 
Shaker 3 
Shaker 4 
Shaker 5 
Shaker 6 
Shaker 7 
Shaker 8 
Shaker 9 
Shaker 10 
Shaker 11 
Shaker 12 
Shaker 13 
Shaker 14 



1016. pre: 

1017. pre: 

1018. pre: 

1019. pre: 

1020. pre: 

1021. pre: 

1022. pre: 

1023. pre: 

1024. pre: 

1025. pre: 

1026. pre: 

1027. pre: 

1028. pre: 

1029. pre: 

1030. pre: 

1031. pre: 

1032. pre: 

1033. pre: 

1034. pre: 

1035. pre: 

1036. pre: 

1037. pre: 

1038. pre: 

1039. pre: 

1040. pre: 

1041. pre: 

1042. pre: 

1043. pre: 

1044. pre: 

1045. pre: 

1046. pre: 

1047. pre: 

1048. pre: 

1049. pre: 

1050. pre: 

1051. pre: 

1052. pre: 

1053. pre: 

1054. pre: 

1055. pre: 

1056. pre: 

1057. pre: 

1058. pre: 

1059. pre: 



Shaker 15 
Shaker 16 
Shaker 17 
Shaker 18 
Shaker 19 
Shaker 20 
Shaker 21 
Shaker 22 
Shaker 23 
Shaker 24 
Shaker 25 
Shaker 26 
Shaker 27 
Shaker 28 
Shaker 29 
Misc 1 
Misc2 
Misc 3 
Misc 4 
Misc 5 
Misc 6 
Misc 7 
Misc 8 
Misc 9 
Misc 10 
Misc 11 
Misc 12 
Misc 13 
Misc 14 
Misc 15 
Misc 16 
Misc 17 
Misc 18 
Misc 19 
Misc 20 
Misc 21 
Misc 22 
Misc 23 
Misc 24 
Misc 25 
Misc 26 
Misc 27 
Misc 28 
Misc 29 



208 E-MU Systems 



Appendix 
Instrument Listing 



Instrument Listing 



1060. pre 

1061. pre 

1062. pre 

1063. pre 

1064. pre 

1065. pre 

1066. pre 

1067. pre 

1068. pre 

1069. pre 

1070. pre 

1071. pre 

1072. pre 

1073. pre 



Misc 30 
Misc 31 
Misc 32 
Misc 33 
Misc 34 
Misc 35 
Misc 36 
Misc 37 
Misc 38 
Misc 39 
Misc 40 
Misc 41 
:Misc 42 
Misc 43 



1074. pre 

1075. pre 

1076. pre 

1077. pre 

1078. pre 

1079. pre 

1080. pre 

1081. pre 

1082. pre 

1083. pre 

1084. pre 

1085. pre 

1086. pre 

1087. pre 



Misc 44 
Misc 45 
Misc 46 
Misc 47 
Misc 48 
Misc 49 
Misc 50 
Misc 51 
Misc 52 
Misc 53 
Misc 54 
Misc 55 
Misc 56 
Misc 57 



1088. pre 

1089. pre 

1090. pre 

1091. pre 

1092. pre 

1093. pre 

1094. pre 

1095. pre 

1096. pre 

1097. pre 

1098. pre 

1099. pre 

1100. pre 



Misc 58 
Misc 59 
Misc 60 
Misc 61 
Misc 62 
Misc 63 
Misc 64 
Misc 65 
Misc 66 
Misc 67 
Misc 68 
Misc 69 
Misc 70 



Mo'Phatt Operation Manual 209 



Appendix 
Riff Listing 



Riff Listing 



1. AUD-C Triad 

2. AUD-C 1 (4 bars) 

3. AUD-C3 (1 bar) 

4. AUD-C3 (2 Bars) 

5. AUD-C3 (4 Bars) 

6. AUD-C4 

7. AUD-Cm7 

8. AUD-Cm9 

9. AUD-Cmaj7 

10. AUD-CsUp 

11. AUD-Cs Up-Down 

12. AMB-Underground 

13. AMB- Vocoder 

14. BAS-Acidl 

15. BAS-Bagg 

16. BAS-BellyButton 

17. BAS-Decision99 

18. BAS-EatMe 

19. BAS-FunkPM 

20. BAS-FunkPop 

21. BAS-FunkSlap 

22. BAS-GutPunched 

23. BAS-HarpOSl 

24. BAS-HarpOS2 

25. BAS-HarpOS3 

26. BAS-HellaBoom 

27. BAS-Hummertime 

28. BAS-InTheory 

29. BAS-ItToo 

30. BAS-KeyONate 

31 . BAS-Persistence 

32. BAS-PluckySynth 

33. BAS-RezRipper 

34. BAS-SP Stand-Up 

35. BAS-SlapPop 

36. BAS-SonicSine 

37. BAS-Soulified 

38. BAS-Speakeasy 

39. BAS-Standin 

40. BAS-SubsonicTRi 

41. BAS-Talk2Me 

42. BAS-Technoid 

43. BAS-TheDeepest 

44. BAS-TheDeepest2 



45. BAS-TheOtherMarc 

46. BAS-Upright One 

47. BAS-WarmWelcome 

48. BAS-WoofaWrekka 

49. BRS-Bigg 

50. BRS-BrassTine 

51. BRS-Hitz 

52. BRS-Caliente 

53. BRS-Crunchy 

54. BRS-Lotsa 

55. BRS-Lotsa2 

56. BRS-Philta 

57. BRS-SlapDatBrass 

58. BRS-SlapDat2 

59. GTR-AllWahs 

60. GTR-Burnt 

61. GTR-ChordBed 

62. GTR-Cyclone 

63. GTR-DissedHit 

64. GTR-Fine Slide 

65. GTR-Flange Pick 

66. GTR-GenX 

67. GTR-GenX 2 

68. GTR-GenerEl 

69. GTR-Grit Slide 

70. GTR-Grunge 

71. GTR-HrndrixWah 

72. GTR-Lik Choppy 

73. GTR-LikeThisLik 

74. GTR-MoodRiff 

75. GTR-Nylon 

76. GTR-Nylon 1 2 

77. GTR-Nylon 2 

78. GTR-Nylon 2 2 

79. GTR-NylonArp 

80. GTR-NylonArp2 

81. GTR-NylonFantasy 

82. GTR-OneShot 

83. GTR-PhiltaSweep 

84. GTR-Pinky Fingaz 

85. GTR-Pop2 

86. GTR-RBNylonWav 

87. GTR-SlideHit 

88. GTR-Slo Strum 



89. GTR-Sprinkle 

90. GTR-Strata 

91. GTR-Strata 2 

92. GTR-StrumGlass 

93. GTR-Wacka 113 

94. GTR-Wacka 96 

95. GTR-Wackaloo 

96. GTR-WahNot 

97. GTR-WahScale4 

98. GTR-WeezlFuzz 

99. HIT-DroppinOff 

100. HIT-GuitHat 
101.HIT-InConcert 

102. HIT-KnockUOut 

103. HIT-Nice Under 

104. HIT-OrgCreept 

105. HIT-Satisfying 

106. HIT-Serious 

107. HIT-Serious2 

108. HIT-Splash 

109. HIT-StrikezAgain 

110. HIT-Sweeit 
111.KEY-0l0FuzzTine 

112. KEY-lNoteMello 

113. KEY-ChordsHits 

114. KEY-ChordsHits2 

115. KEY-CityGiggin 

116. KEY-DX Organ 

117. KEY-Far fg nOrgn 

118. KEY-GrowlDrop 

119. KEY-HarpsiFlange 

120. KEY-Horror Glide 

121. KEY-HybridSweep 

122. KEY-Keystone 

123. KEY-Klavin It 

124. KEY-KoolKord 

125. KEY-M088 

126. KEY-MoEDan 

127. KEY-Org Roll 

128. KEY-OrgLite 

129. KEY-OrgRoll2 

130. KEY-OrgStoneGruv 
131.KEY-PercOrg 

132. KEY-Sitar88 



210 E-MU Systems 



Appendix 
Riff Listing 



Riff Listing 



133. KEY- Vinyl 73 

134. KEY-WahChunk 

135. LED-70S Lead 

136. LED-Deep Thought 

137. LED-Fantasy 

138. LED-Fantasy 

139. LED-ProphetLine 

140. LED-Raveline 
141.LED-Raveline2 

142. LED-SineWorm 

143. LED-SineWorm2 

144. PAD-Addtive Org 

145. PAD-Cherubs 

146. PAD-Cherubs 2 

147. PAD-DanceLitez 

148. PAD-DeadMetall 

149. PAD-Drone 1 

150. PAD-Drone 1 2 

151. PAD-Drone 2 

152. PAD-DroneSwirl 

153. PAD-OBLayerl 

154. PAD-PluckedGold 

155. PAD-StringLayer 

156. PAD-StringLayr2 

157. PAD-TheMadSweep 

158. SFX-Solar Babies 

159. SFX-WooleyBob 

160. SFX-YaYAYA 
161.STR-BalladHarp 

162. STR-BalladHarp2 

163. STR-Harpo 

164. STR-HybridSynth 

165. STR-PizzStrings 

166. STR-Oops 

167. STR-OrchHarp 

168. STR-Sa-Spen Ful 

169. STR-SectionPizz 

170. STR-Suspense 
171.STR-SynthString 

172. STR-Virgoe 

173. SYN-2 Step 

174. SYN-AgonyOrgon 

175. SYN-BrassProphet 

176. SYN-Classic 1 



1 77. SYN-LadyOrgl 221 . KIT-MarchMadnezZ 

178. SYN-LadyOrg2 222. KIT-Mo Dist 

179. SYN-PLUCKY 223. KIT-Music2DrivBy 

180. SYN-Prosync 224. KIT-New Beat 

1 81 . SYN-Silkwerm 225. KIT-NuMetal 

182. SYN-Syco Girl 226. KIT-Oh Yeah 

183. SYN-Wan X 227. KIT-OnDaStreet 

184. SYN-Weeperr 228. KIT-Perky 

185. SYN-Winny 229. KIT-Perky2 

186. VOX-Agony Agony 230. KIT-PhiltaFreak 

1 87. VOX-DaddysGal 231 . KIT-PhiltaFreak2 

188. VOX-Voicyst 232. KIT-Relapse 

189. VOX-Voxcade 233. KIT-Relapse2 

190. WAV-Sinusoid 234. KIT-ScratchHead 

1 91 . WAV-Square 235. KIT-Slappy 

192. PRC-Kicks 1 236. KIT-SubwayTunnel 

193. PRC-Kix 1 237. KIT-The Ultimate 

194. PRC-Kix2 238. KIT-ThugitUp 

195. PRC-Misc 239. KIT-TimesSquare 

196. PRC-Per Oct 240. KIT-U Aint 

1 97. PRC-Scratches 241 . KIT-U No 

198. KIT-AllmyMoMeeS 242. KIT-Vilper 

199. KIT-BettaBeata 243. KIT-Vilper2 

200. KIT-Construction 244. KIT- Warp 
201.KIT-CornaSto 245. KIT- Wide One 

202. KIT-CornaSto2 246. KIT-WideOne2 

203. KIT-Crunch 247. KIT- Woo Kid 

204. KIT-DarkFlower 248. BTS-8nt Urz 

205. KIT-DarkFlower2 249. BTS-AllMyMomeeS 

206. KIT-DePhlanga 250. BTS-BabyDoll 

207. KIT-Frisco Layer 251. BTS-Beat Prophet 

208. KIT-Funk 4 Life 252. BTS-Becky Boise 

209. KIT-GM One 253. BTS-Can I Talk 

210. KIT-GM Two 254. BTS-ClapYoHandZ 

21 1 . KIT-GuessWhosBak 255. BTS-CreatrLayr 

212. KIT-HappyZ 256. BTS-CreatrLayr2 

213. KIT-HiverJiver 257. BTS-DJ GLO Jenkn 

214. KIT-Hot n Steamy 258. BTS-DialToneZ 

215. KIT-KattznJammah 259. BTS-DirTay drTee 

216. KIT-KlasicStudio 260. BTS-DoiTZ 

21 7. KIT-Klippy 261 . BTS-Dr. Banner 

218. KIT-Lesster 262. BTS-FemaleBasher 

219. KIT-MO GM 1 263. BTS-GLO BabieeS 

220. KIT-MarchMadness 264. BTS-Geechee GLO 



Mo'Phatt Operation Manual 21 1 



Appendix 
Riff Listing 



Riff Listing 



265. BTS 

266. BTS 

267. BTS 

268. BTS 

269. BTS 

270. BTS 

271. BTS 

272. BTS 

273. BTS 

274. BTS 

275. BTS 

276. BTS 



GrungeZ 

HeY 

Hot n Steam2 

Hot n Steamy 

I Miss U 

Iced Out 

ItsLikeDat 

ItsUAgAIn 

Kattznjammah 

LaLaZ 

Last Chance 

Lily 3 



277. BTS- 

278. BTS- 

279. BTS- 

280. BTS- 

281. BTS- 

282. BTS- 

283. BTS- 

284. BTS- 

285. BTS- 

286. BTS- 

287. BTS- 

288. BTS- 



Lily 4 

Lily 5 

Luv Joens 

MaleBasher 

MoHappyFeet 

MooshooClan 

MounTenbery 

My Girl 

NWO 

Oh BaebeeZ 

Play Cousin 

QBORO 



289. BTS- 

290. BTS- 

291. BTS- 

292. BTS- 

293. BTS- 

294. BTS- 

295. BTS- 

296. BTS- 

297. BTS- 

298. BTS- 

299. BTS- 



ShakitZ 

SistaHoney 

SmoothOneZ 

SpaceBoyZ 

The Ultimate 

U4 Got ME 

VideoGamez 

While U Werk 

Wide Hive 

YeaYeaZ 

ZMan 



212 E-MU Systems 



Appendix 
Example Percussion Maps 



Example 

Percussion 

Maps 



Hot n Steamy 

Factory Preset 009° 



The following percussion maps will give you a general idea of how most of 
the percussion instruments are laid out. 

Certain drum kits (as in instruments 761-799) have empty keys so that you 
can insert drums of your own choosing. To insert a new sound onto an empty 
key, simply layer another drum kit and limit its range to just that key. Use the 
Transpose function to select which instrument is placed on the empty key. 

The preset below shows how percussion instruments and melodic instru- 
ments can be combined in one preset using layers 



MIDI 

Key # 

I 



w fD 

■u 

Kick Low 

Echo Snare 

Slap Snare 

Bell Kick 

Bell Kick 

Dome Kick 

Dome Kick 

Hard Bink Kick 

Hard Bink Kick 

Orch. Crash 

Ride Cymbal 

Splash Cymbal 

Hi Crash Cym 

Ride Cymbal 2 

Hi Bongo 

Hi Bongo Mute 

Lo Conga 

"Yeah" Slap 

Gated Beep 

Scratch 

Space Dog 



> 



-Snare 
-909 Clap 

-Tight Jazz Hat 
-jazz Open Hat 
-Mid Open Hat 

-Crash Crash 
-Ride Cymbal 

-Tambourine 
Cowbell 
-Vibraslap 

-Lo Bongo 
-High Conga 

-"Yeah" Slap Hi 
Hi Gated Beep 
-Lo Scratch 



Mo'Phatt Operation Manual 213 



Appendix 
Example Percussion Maps 



Funky CM 3 

Instrument #489 
Used in Preset- 1 09 2 

Note: All loops are at 83 
bpm in this Instrument 



MIDI 

Key # 



Lush Guitar Hit 


- 


24 




Lush Guitar Hit 






Lush Guitar Hit 






Waka Guitar 1 




Bass Fret Rolldown 


Waka Guitar 2 




- 5-pt Chucka Guitar 


Brush Tom 




Acous Lo Kick 






Wide Hive Kick 


36 


-Acoustic Rim 
-Group Clap 


Acoustic Snare 




Acous. Snare 2 




Low Floor Tom 




-Closed Hat 
-Pedal Hat 
-Open Hat 


Hi Floor Tom 




Low Tom 




Mid Tom 




Hi/Mid Tom 


48 


-Low Crash 
-Low Ride 


Hi Tom 




Chinese Cymbal 




Ride Bell 




-Tambourine 

-Cowbell 

-Vibraslap 


Splash Cymbal 




Hi Crash Cym 




Hi Ride Cym 




Hi Bongo 


60 


-Lo Bongo 
-High Conga 


Hi Bongo Mute 




Low Conga 




Hi Timbale 




-Low Timbale 
-Agogo Lo-Tone 


Hi Agog 




Cabasa 




Short Whistle 






Long Whistle 


72 


-Short Guiro 
-Clave 


Guiro 




Hi Block 




Lo Block 




-Quica 
-Triangle Mute 


Quica 




Open Triangle 




Sleigh Bell 






Bell Tree 


84 


Harp Gliss 
-Clap 


Thunder Sheet 




Funk Sanre 




LP Snare 




-Hi-Hat Grit 
-Brushy Snare 
-LoFi Snare Rim 


Drum Groove 




Acoustic Fill 




Soft Clave 




"Oh Yeah" Vox 


96 


-Carnival Hit Brass 
-Brass Stab 


FX Loop 




Brass Hit 




Pad Hit 




-Snare 


Pad 83 bpm 





214 E-MU Systems 



Appendix 
Example Percussion Maps 



Funky CM One 

Instrument # 487 

Note: All loops are at 83 
bpm in this Instrument 



MIDI 

Key # 



Lush Guitar Hit 


- 


24 




Lush Guitar Hit 






Lush Guitar Hit 






Waka Guitar 1 






Waka Guitar 2 




— Wah Ciiiitar 


Brush Tom 




Sidp Stick 


Acous Lo Kick 






Kick & Hat 


36 


-Acoustic Snare 
-Clap Trap 


Acoustic Rim 




Acous. Snare 2 




Lo Floor Tom 




-Closed Hat 
-Pedal Hat 
-Open Hat 


Lo/Mid Tom 




Mid Tom 




Mid/Hi Tom 




Hi Tom 


48 .^^^^ 


-Low Crash 
-Low Ride 


Higher Tom 




Chinese Cymbal 




Splash Cymbal 




-Tambourine 

-Cowbell 

-Vibraslap 


Flange Cymbal 




Hi Crash Cym 




Hi Ride Cym 




Hi Bongo 


60 


-Lo Bongo 
-High Conga 


Hi Bongo Mute 




Low Conga 




Hi Timbale 




-Low Timbale 
-Agogo Lo-Tone 
-Maracas 


Hi Agog 




Cabasa 




Short Whistle 




Samba Whistle 


72 


-Short Guiro 
-Clave 


Guiro 




Hi Block 




Lo Block 




-Short Quica 
-Triangle Mute 
-Shaker Loop 


Quica 




Open Triangle 




Sleigh Bell 




Bell Tree 


84 


-Finger Snaps 
-Kick Drum 2 


Kick Drum 




Reggae Timbale 




Drum Bed 




-Thwap 
-Whirlybird 
-Sci-Fi Toy 


Reverse Rhythm 




Chu Chu 




Surface Noise 




"Ay-Yi" Vox 


96 


-Suspense 
-Weird Loop 


Rev. Suspence 




Vocoder 




Ray Gun 




-Bass Loop 


Intro Beat 





Mo'Phatt Operation Manual 215 



Appendix 
Trigger Layouts 



Trigger 
Layouts 



Trigger Layout 1 
Setup 59 



BEATS trigger layouts are saved when you save a Multisetup. Multisetups 
59-62 contain four different BEATS Trigger layouts for you to check out. You 
may want to design your own trigger layout and when you do, be sure to 
save it in one of the Multisetup locations. 

Note that none of these are write-protected (like the factory multisetup). 
They are initialized with these layouts, but you are free to overwrite them at 
will. 



Parts 1-8 are set to C" 2 (effectively off). Group 1 & 2 are latched, and 
Start/Stop & Clear Parts are on the same trigger, so that starting and 
stopping the sequencer also clears active parts. 



<•> 

t: 
to 


!_ 
TO 

CD 


u 




-Group 1 
-Group 2 

-Trigger Hold 
-Start/Stop & 
-Mute 


Multisetup 59 












CI D1 El 


F1 G1 A1 B1 


C2 D2 E2 


F2 G2 A2 B2 




1 1 1 1 1 1 1 1 




0\Oi-fNrOt^ 


VO 




TO t t t t t t 

G_ TO TO TO TO TO TO 

C_ C_ C_ C_ C_ C_ 


-i— < 
TO 





216 E-MU Systems 



Appendix 
Trigger Layouts 



Trigger Layout 2 
Setup 60 



This layout is similar to the basic layout, except that the groups and 
functions are on the left of the main triggers. It is setup so that it takes 
advantage of a 76-key keyboard by starting at EO instead of CI. However, it 
can be shifted up to facilitate use on a 61 -key keyboard as well. 



Trigger Layout 2 

Multisetup 60 



T3 
O 

(J 



(N TT NOn 



i— tT VO 



re re 



re re re 

o_ o_ Q_ 



III II III 



re re 

D. O- 
I I 



nrnmi 



E0 F0 GO A0 BO CI D1 E1 F1 G1 A1 B1 C2 D2 



I I I I I I I I I I I I I I 

Q-425<N Tl" i— nOLOvoooorvinouo 

on q. I ^ 3rererereret_t_t_t_ 

12- >_ s_ O OQ-Q-Q-Q-Q- rererere 

oo (j Q) 



Trigger Layout 3 
Setup 6 1 



This layout puts all of the direct part triggers consecutively on the white 
keys. Groups and functions are put up on the black keys. 



Trigger Layout 3 

Multisetup 61 



i— fN oo ^f 

Q. Q.Q. Q- 

ZS ZS ZS Z> 

o o o p 



I I 



I I I 



I I 



Q_2 

2 re 

1_ 03 +-> 

re a» 3 

i i i 



T3 
O 



en 

U) 



MMMU 



CI Dl El F1 G1 Al Bl C2 D2 E2 F2 G2 A2 B2 C3 D3 



I I I I I I I I I I I I I I I I 

i— rNlOO^iOvOIXOOOsOi— (NOO-^iOvO 



rererererererereretrtrtltltrtit: 
d_c_c_c_c_c_c_d_d_ (z re re re re re re 

Q_ Q_ Q_ Q_ Q_ C_ Q_ 



Mo'Phatt Operation Manual 217 



Appendix 
Trigger Layouts 



Trigger Layout 4 
Setup 62 



Parts 1-8 on the first 8 white keys, 9-16 on the first 8 black keys, Groups are 
on the white keys under parts 14-16, and the Control Functions are on the 
remaining keys. 



O 



TO "3 

C_ Cl. 

I I 



i-fNM 



to to to 
c_ c_ c_ 

I I I 



■sT "-O 



TO "3 

C_ Cl. 

I I 



CL 

o 
+j tr -m 

« "3 3 

to +-> -^ 

Q_ C/O ^ 

I I I 



Trigger Layout 4 

Multisetup 62 



II III II III 



Cl 



D1 



El 



F1 



Cl 



A1 



B1 



C2 



D2 



E2 



F2 



C2 



A2 



B2 



tlttltltltltlt! ClClClCl 



TOTOTOTOTOTOTOTO 



TO 



3 3 3 3 Q_ I 

O O O O . . 

*— *— s— s— « ?Ti 



218 E-MU Systems 



Appendix 
Velocity Curves 



Velocity 
Curves 



This section provides diagrams and descriptions of the Mo'Phatt velocity 
curves. 




20 40 60 80 100 120 

Played Velocity 

Linear, no change to velocity. 




20 40 60 80 100 120 

Played Velocity 

Compresses velocity range. 




20 40 60 80 100 120 

Played Velocity 

Expands dynamics in low range, 

emphasizing medium velocity values 

and compressing high velocity values. 




20 40 60 80 100 120 

Played Velocity 

Expands velocity range. 
Soft -> Loud 




20 40 60 80 100 120 

Played Velocity 

Expands velocity range. 
Outputs high values. 




20 40 60 80 100 120 

Played Velocity 

Shifts velocity values upward. 
Good dynamic range. 



Mo'Phatt Operation Manual 219 



Appendix 
Velocity Curves 



Velocity Curves 




20 40 60 80 100 120 

Played Velocity 

Shifts velocity values up while 
compressing the midde range. 




20 40 60 80 100 120 

Played Velocity 

Similar to Curve 6 with more 
emphasis on the middle range. 




20 40 60 80 100 120 

Played Velocity 

Extreme dynamic range 
compression. Outputs low values. 




20 40 60 80 100 120 

Played Velocity 

Similar to Curve 6. 




20 40 60 80 100 120 

Played Velocity 

Extreme dynamic range 
compression. 




20 40 60 80 100 120 

Played Velocity 

Extreme dynamic range compres: 
but doesn't output low values 



220 E-MU Systems 



Appendix 
Patchcord Amount Chart 



Patchcord 
Amount Chart 





20 40 60 80 100 120 

Played Velocity 

Less severe version of Curve 1 1 . 



20 40 60 80 100 120 

Played Velocity 

Extreme expansion of 
velocity range. 



The following chart shows the Patchcord "Amount" settings in order to get 
semitone intervals when modulation sources are connected to pitch. 



Semitone 


Patchcord 
Amount 


Semitone 


Patchcord 
Amount 


1 


3 


21 


66 


2 


6 


22 


69 


3 


approx. 9 


23 


approx. 72.5 


4 


approx. 12 


24 


approx. 76 


5 


16 


25 


79 


6 


19 


26 


82 


7 


22 


27 


88 


8 


25 


28 


91 


9 


28 


29 


approx. 95 


10 


approx. 31 


30 


98 


11 


35 


31 




12 


38 


32 




13 


41 


33 




14 


44 


34 




15 


47 


35 




16 


50 


36 




17 


approx. 53 


37 




18 


57 


38 




19 


60 


39 




20 


63 


40 





Mo'Phatt Operation Manual 221 



Appendix 
MIDI 



MIDI 



MIDI Implementation Chart 



MIDI Information 


Transmitted 


Recognized 


Remarks 


MIDI Channels 


— 


1-16 




Note Numbers 


— 


0-127 




Program Change 


— 


0-127 




Bank Select Response? 


No 


Yes 


MSB + LSB 


Modes: Omni (Mode 1) 
Mono (Mode 2) 
Poly (Mode 3) 
Mode 4 (Y/N) 
Multi (Mode 5) 


No 
No 
No 
No 
No 


Yes 
Yes 
Yes 
No 
Yes 




Note On Velocity 


No 


Yes 




Note Off Velocity 


No 


No 




Channel Aftertouch 


No 


Yes 




Poly (Key) Aftertouch 


No 


No 




Pitch Bend 


No 


Yes 




Active Sensing 


No 


No 




System Reset 


No 


No 




Tune Request 


No 


No 




System Exclusive 
Sample Dump Standard 
File Dump 
MIDI Tuning 
Master Volume 
Master Balance 
Notation Information 
Turn GMl System On 
Turn GM2 System On 
Turn GMl System Off 
Other (See Remarks) 


Yes 

No 
No 
Yes 
No 
No 
No 
No 
No 
No 
No 


Yes 

No 
No 
Yes 
Yes 

No 
No 
No 
No 
No 
No 




NRPNs 


No 


No 




RPN 00 (Pitch Bend Sensi.) 
RPN 01 (Chan. Fine Tune) 
RPN 02 (Chan Coar. Tune) 
RPN 03 (Tuning Prog Sel.) 
RPN 04 (Tuning Bank Sel.) 
RPN 05 (Mod Depth Rang) 


No 
No 
No 
No 
No 
No 


No 
No 
No 
No 
No 
No 




MIDI Timing & Sync 








MIDI Clock 


No 


Yes 




Song Position Pointer 


No 


No 




Song Select 


No 


No 




Start 

Continue 

Stop 


No 
No 
No 


Yes 

No 
Yes 





222 E-MU Systems 



Appendix 
MIDI 



MIDI Information 


Transmitted 


Recognized 


Remarks 


MIDI Time Code 


No 


No 




MIDI Machine Control 


No 


No 




MIDI Show Control 


No 


No 




Extension Capability 








General MIDI Compat? 
Is GM default mode? 


No 
No 


No 
No 




DLS compatible? 
Import DLS Files? 
Export DLS Files? 


No 
No 
No 


No 
No 
No 




Import stand MIDI files 
Export stand MIDI files 


No 
No 


No 
No 




NOTES: 


Pan: -64 = hard left, +63 = hard right 



Product ID for Mo'Phatt = OF (15) 

MIDI Device Inquiry Responses 

Family 

MSB 0x04 (Musical Instruments) 
LSB 0x04 (ROM Players) 

Member 

MSB 0x00 (P2k Group) 

LSB 0x02 Audity 2000 
0x03 Proteus 2000 
0x04 B-3 
0x05 XL-1 
0x06 Virtuoso 2000 
0x07 Mo'Phatt 
0x08 B-3 Turbo 
0x09 XL-1 Turbo 
OxOA Mo'Phatt Turbo 
OxOB Planet Earth 
OxC Planet Earth Turbo 

There is only one edit buffer which is used by the current preset (the preset 
shown in the display). You can edit only one preset at a time via SysEx 
commands, although these presets can be edited independently of the 
current preset edited using the Front Panel. Remote Preset selection is 
independent of the edit buffer. Changing the current preset erases the edit 
buffer. 



Mo'Phatt Operation Manual 223 



Appendix 
MIDI 



Received Channel 
Commands 



SysEx Specification 



Channels number (n) = 0-15. Message bytes are represented in hex. All 
other numbers are decimal. Running Status is supported. 



Comments 

velocity = note off 

kk = 0-127 vv = 0-127 

0-127 

0-127 

1 = lsb, m = msb 

cc = 00-31, 64-95 

cc = 64-79, vv > 64 = on 

0-127 

0=left, 127=right, 64=center 

reset by multimap selection or 
"Reset All Controllers" 

turns all sound off 

ignored in omni mode 

ignored in omni mode 

forces all notes & controls off 

forces all notes & controls off 

forces all notes & controls off 

forces all notes & controls off 

bb = bank MSB (see page 110) 

bb = bank LSB (see page 110) 



* Special Notes: 

• From Omni Mode Omni Off turns Poly On. 

• From Poly Mode Omni On turns Omni On; Mono On turns 

Mono On. 

• From Mono Mode Mono Off turns Poly On; Omni On turns 

Omni On. 

• From Multi Mode Omni On turns Omni On; Omni Off or Mono 

Off turns Poly On; Mono On turns Mono On. 

• All other changes have no effect. 



Mo'Phatt contains an extensive set of MIDI SysEx commands. (Virtually 
every parameter is controllable via SysEx.) Because of the size and technical 
nature of the System Exclusive specification, it is beyond the scope of this 
manual. The complete SysEx specification for Mo'Phatt is available on the 
official E-mu Systems, Inc. web site: www.emu.com 



Command 


Message 


Note Off 


8n kk vv 


Note On 


9n kk vv 


Key Aftertouch 


An kk vv 


Program Change 


Cn w 


Channel Aftertouch 


Dn vv 


Pitch Bend 


En 11 mm 


Real-time Controller 


Bn cc vv 


Footswitch 


Bn cc vv 


Volume 


Bn07w 


Pan 


BnOAw 


Expression 


Bn 0B vv 


All Sound Off 


Bn 78 00 


Reset All Controllers 


Bn 79 00 


All Notes Off 


Bn 7B 00 


Omni Mode Off* 


Bn 7C 00 


Omni Mode On* 


Bn 7D 00 


Mono Mode On (Poly Off)* 


Bn 7E 00 


Poly Mode On (Mono Off)* 


Bn 7F 00 


Bank Select MSB 


Bn 00 bb 


Bank Select LSB 


Bn 20 bb 



224 E-MU Systems 



Appendix 
Technical Specifications 



Technical 
Specifications 



Audio Channels: 

MIDI: 

MIDI Channels: 

Presets: 

Filters: 

Audio Outputs: 

Max. Output Level: 
Output Impedance: 

Sound Memory: 
Data Encoding: 
Effects Engine: 
Sample Playback Rate: 

Signal to Noise: 

Dynamic Range: 

Frequency Response: 

THD + Noise: 

IMD 

Stereo Phase 

Power Consumption: 
Voltage Input: 
Dimensions 

Weight 



64 

MIDI In, MIDI Out, MIDI Thru 

16 

512 user presets. (The number of ROM 
presets is determined by the sound SIMMs 
installed.) 

6th Order (50 different types) 



2 polyphonic analog outputs, 
20-bit A£ DACs 

+4dB 

1000 Ohms 

32 MB (expandable to 64 MB) 
16-bit linear data 
24-bit internal processing 
44.1 kHz 

>92dB 
>90dB 
20 Hz - 20 kHz (+2/-1 dB) 

< 0.02% (1kHz sine wave, A-weighting) 

< 0.05% 

Phase Coherent +/- 1° at 1 kHz 

15 Watts 

90VAC-260VAC at 50Hz-60Hz 

H: 1.75 inches 
W: 19 inches 
L: 8.5 inches 

6 1b., 14 oz. (3.1 Kg) 



Mo'Phatt Operation Manual 225 



Appendix 
Props 



Props 



Lisa Flores 
Gina Wermuth 
Dan Becker 
Kat Ouono 
Tim Landis 
Michael VonStruble 



Sounds 

Fred Zimmerman 
G.LOW.O.r?m. 
Ron E. Beck 
Sam Ward 
Janis Chaffin 
Mark Blasquez 
St. Regis Brothers 

Presets 

G.LOW.O.r?m. 
Alex Strudley 
Andrew Schlesinger 
Janis Chaffin 
Ed Dickie 

Beats & Audition Riffs 

Ron E. Beck 
Fred Zimmerman 
G.LOW.O.r?m. 
Sam Ward 
Janis Chaffin 
Alex Strudley 
Mark Coleman 
Sean Wilhelmsen 



Demo Sequences 

GimmeDat - Friday Nite - BONE REQ Ron E. Beck 

East Meets West Sam Ward 

JenkinzBoyz G.LOW.O.r?m. 

FredZ Joint Fred Zimmerman 

Special Thanks 

Ben Conrad and the Folks at Wide Hive 
E-mu Engineering and SQA 
Tim Swartz 

Executive Producer 

Janis Chaffin 



226 E-MU Systems 



Appendix 
Warranty 



Warranty 



Please read this warranty, as it gives 
you specific legal rights. 



Warranty 



This product is warranted, to the original consumer purchaser, to be free of 
all defects in workmanship and materials for a period of one (1) year from 
the date of such purchase from an authorized EMU dealer, provided that 
(a) the Warranty Registration Card is filled out and returned to EMU within 
14 days of the purchase date, and (b) the EMU service center is provided a 
copy of the consumer purchaser's sales receipt. 



Warranty 
Restrictions 



Specifically, but without limitation, EMU does not provide warranty service 
for: 

• Damages due to improper or inadequate maintenance, accident, abuse, 
misuse, alteration, unauthorized repairs, tampering, or failure to follow 
normal operating procedures as outlined in the owner's manual; 

• Deterioration or damage of the cabinet; 

• Damages occurring during any shipment of the unit; 

• Any unit which has been modified by anyone other than EMU. 

No other express or implied warranty is made, and EMU specifically 
disclaims any implied warranty of merchantability, satisfactory quality, and 
fitness for a particular purpose. EMU's liability under warranty is limited to 
repair or replacement of the unit, or refund, at EMU's option. 
In no event will EMU be liable for loss of revenue or savings, loss of time, 
interruption of use, or any other consequential, indirect, incidental, special 
or exemplary damages. The foregoing will apply notwithstanding the 
failure of essential purpose of any remedy provided herein. Some jurisdic- 
tions do not allow the exclusion of implied warranties or conditions, or 
limitations on how long an implied warranty or condition may last, so the 
above limitations may not apply. This warranty gives you specific legal 
rights. You may have other rights which vary from jurisdiction to 
jurisdiction. 



How To Obtain 
Warranty Service 



All EMU products are manufactured with the highest standards of quality. 
If you find that your unit does require service, it may be done by any autho- 
rized EMU service center. If you are unable to locate a service center in your 
area, please contact EMU's Service Department at (831) 438-1921. They will 
either refer you to an authorized service center in your area or ask that you 
return your unit to the EMU factory. 



Mo'Phatt Operation Manual 227 



Appendix 
Warranty 



When returning your unit to the EMU factory, you will be issued a Return 
Merchandise Authorization (RMA) number. Please label all cartons, 
shipping documents and correspondence with this number. EMU suggests 
you carefully and securely pack your unit for return to the factory. (Do not 
send the power cord or operation manual.) Send the unit to E-MU Systems, 
Inc., 1600 Green Hills Road, Scotts Valley, CA 95066. You must pre-pay 
shipping charges to EMU; EMU will pay return shipping charges. You will 
be responsible for any damage or loss sustained during shipment in any 
direction. 

3/99 



228 E-MU Systems 



Index 



Index 



Symbols 

"+" modulation polarity 143 
"+" modulation polarity 143 

Numerics 

19-tone tuning 153 
1-bar trigger 43 
2-pole filters 104 
4-pole filters 104 
6-pole filters 104 



keyboard thru 57 

latch mode 57 

master parameters 50 

MIDI out 48 

MIDI song start 48, 58 

mode 51 

note value 52, 56 

pattern 49, 52 

pattern naming 62 

pattern speed 52 

resolution 50 

status 51 

sync 55 

user patterns 59 

velocity 50, 53 
arpeggiator modes 49 
assign group 131 

attack, envelope 128, 137, 144, 164 
audition beats 38 
audition button 26 
audition preset 17 
audition riff 156 
auxiliary envelope 87, 137 



A effect types 171, 172 
absolute value processor 93 
aftertouch, mono 85 
algorithm 

FXA 173, 174 

FXB 173, 175 

master FXA 70 

master FXB 71 
all layers 113, 115 
alternate tuning 153 
amount 

patchcord 108, 142 
amplifier 126 
amplitude 132, 160 
amplitude envelope 127 
amplitude modulation 84 
arp/beats mode 35 
arpeggiate multiple channels 63 
arpeggiator 32 

channel 32 

controls 50 

copying settings 188 

delay 55, 56 

duration 61 

extension 50 

extension count 54 

extension interval 54 

factory patterns 52 

gate 50 

gate time 53 

interval 50 

key offset 60 

key range 58 



B 

B effect types 171, 172 

balance 107 

band-pass filter 103, 133 

bandwidth 105 

bank 19 

bank number 19, 30 

bank organization 20 

bank select display 26 

banks 

selecting 31 
base tempo 36 
basic channel 39 
basic setup 14 
basics, programming 83 
beats 

busy 41 

channel 39 

markers 26, 37 

mode 35,39 

part transpose 45 

part velocity 44 

parts group 46 

riffs 36 

trigger layouts 43, 216 

trigger offset 44 

variation 42 

velocity group 1-4 41 

xpose group 1-4 41 
bend range 66 
breath controller 76 
bts 

preset 20,40 
bts busy 41 



Mo'Phatt Operation Manual 229 



Index 



button 

control 25 

cursor 26 

edit menu 25 

home/enter 26, 35, 65 

master menu 25 

save/copy 26 
bypass effects 176 



calibration 79 
category 

instrument 33 

preset 33 
center frequency 105 
change 

MIDI preset 75 

preset 19 
changing 

filter type 164 

the voice 157 
channel 

arpeggiator 32 

MIDI enable 74 

MIDI select 30 

pan 32 

selection, MIDI 30 

volume 31 
chorus 171, 181 

width 159 
chorus, effect 181 
chorusing 129, 159 
clear part 37 
clock 

divisor 85 

MIDI 36 
clock modulation 91 
coarse tuning 126,158 
comb filter 134, 172, 181 
connection instructions 14 
continuous controllers 108 
contour, envelope 85, 128 
control 

button 25 

data entry 27 

effects multi mode 69 

mode 25 

rows 25 

volume 25 
control keys 37 
controller 

assigning real-time 75 

footswitch 76 

knobs 29, 75, 109 

MIDI 75, 108 

MIDI #10 32 

MIDI #7 31, 108 

MIDI real-time 108 

modes 27 



quick edit and real-time mode 28 

real-time 25,27 
only mode 27 

standardized MIDI numbers 76 
copy preset patchcords 186 
copying 

layers 185 

patchcords 186 

preset banks 188 

presets 184 
create random preset 190 
credits 226 
crossfade random 86 
crossfade, ranges 122 
current tempo 36 

offset 156 
cursor buttons 26 
curve 

velocity 67 

volume 159 
curve, glide 132 
cutoff frequency 103,161 



damping, high frequency 172, 180 

data entry control 27 

DC offset, example 100 

DCA 107, 166 

decay 

effect A 71, 172 

effects 172 

envelope 159 
deep edit mode 28, 78 
default assignment, beats 37 
delay 129 

arpeggiator 55, 56 

effect B 72 

effect processor 182 

effects 171, 172 

LFO 140 

master FXB 72 

preset link 155 
demo sequences 17 
descending arpeggiator 49 
destinations, modulation 92, 144 
device 

external MIDI 90 
device ID 73 
dimensions 225 
diode processor 94 
display, viewing angle 82 
distortion effects 171 
distortion, effect processor 182 
double & detune 129, 159 
doubling 181 
downbeat marker 26, 37 
drum mappings 213 



230 E-MU Systems 



Index 



dual channel beats 21, 39 
dual tap, delay 182 
duration 

pattern 61 
dynamic filters 101 
dynamic range 225 



edit menu button 25 
editing 

presets 157 

user patterns 59 
effect diagram 146, 147, 149 
effects 

A type 171 

B into effect A 178 

B submix routing 72 

B type 171 

busses 169 

by channel number 178 

channel number setup 178 

chorus 181 

decay 172 

delay 172, 182 

description 180 

distortion 182 

doubling 181 

dual tap delay 182 

feedback 172, 182 

flanger 181 

FXA decay 71 

FXAHF Damping 71 

FXB feedback 72 

FxB->FxA 71, 173 

global 177 

HF damping 172 

LFO rate 72, 172 

master 169, 174, 177 
A algorithm 70 
B algorithm 71 
FxB->FxA 174 
LFO rate 72 

mode 69, 176 

mode, bypass 176 

multi mode control 69, 176 

panning delay 182 

patchcords 151 

preset 146, 173 

processor 169 

programmed in the preset 146, 173 

reverb 180 

send amounts 169 

sends 68, 169 

slapback 181 

stereo delay 182 

submix routing, A 71, 149, 150 

type A 70, 148, 171, 172 

type B 72, 149, 171, 172 

vibrato 182 
enabling MIDI channels 74 
enter button 26 



envelope 

attack 128, 137, 144 

auxiliary 137 

decay 159 

filter 135, 162, 163, 165 

generator 85, 87 

mode, factory 160 

mode, filter 163 

release 159 

repeating 88 

reverberation 180 

volume 127, 128, 159, 160 
envelope generator 

example 104 
equal temperment tuning 153 
errors, data transmission 80 
expression controller 224 
extension 

count 54 

interval 54 



factory 

envelope mode 160 
factory patterns, arpeggiator 52 
Fc 135, 161 
feedback 172 

effect 182 
feedback, FXB 72 
fills, beats 37 
filter 

2-pole 104 

4-pole 104 

6-pole 104 

bandpass 103, 133 

changing type 164 

comb 134, 172 

definition 102 

dynamic 101 

envelope 87, 135, 162, 163 

envelope attack 164 

envelope generator 135, 165 

envelope mode 163 

frequency 135, 144, 161 

high-pass 102, 161 

low-pass 102 

mode 163 

morph 106 

notch 103 

overview 161 

parametric 105 

pole 104 

Q 135, 161, 162 

swept EQ 105 

troubleshooting 166 

tutorial 101 

type 161, 164 

type, changing 164 

Z-plane 106, 107, 132 
fine tuning 126, 158 



Mo'Phatt Operation Manual 231 



Index 



fingered glide solo mode 131 
first key 96 
flange effects 171 
flanger, effect processor 181 
flashing LEDs 26, 37 
flip-flop processor 94 
footswitch 14, 76, 85 
free running, LFO 139 
frequency 

center 105 

cutoff 103 

filter 135, 144 
frequency modulation 84 
front panel knobs 195 
FX cords 151 
FX mode 69, 176 
FXA algorithm 173, 174 
FXA parameters 149 
FxB -> FxA 173, 174, 178 
FXB algorithm 149, 173, 175 
FXB master algorithm 71 
FXB parameters 150 
FXB submix routing 72 



gain processor 94 
gamelan tuning 153 
gate 85 
gate time 53 
generator 

envelope 85 

filter envelope 135,165 

noise and random 85 

volume envelope 127 
glide 132 

curve 132 

key 85 

rate 85, 132 
global effects 174, 177 
grooves 

beat 37 
group, assigning channels to a 131 
groups, beats 37 

H 

headphones 14 

high frequency damping 71, 172, 180 

high-pass filter 102, 161 

home position 19 

home/enter button 26, 35, 65 



I 

ID number 

sysex 73 
implementation chart, MIDI 222 
initial pan position 126 
initial volume 126 
instrument 107, 157 

category 33 

listing 201 

selecting 116 
instrument listing 201 
inverting LFO waves 90 



J 

just C tuning 153 
description 154 
just intonation 153 



key 

glide 85 

offset, arpeggiator 60 

range, arpeggiator 58 

sync 55 

transpose 125 

trigger 43 

tuning 82 

velocity 85 
key range 118 

preset link 155 
keyboard 

character assignments 114 

key 85 

layering and splitting 167 

pressure 85 

range 117, 118 

splitting 167 

thru, arpeggiator 57 

transpose 125 

transpose on/off 130 

tuning 153 
Kirnberger tuning 153 
knob 

calibration 79 

typical functions 195 
knob preset quick edit 77 
knobs 

controller 29, 109 

real-time control 27 

transmit MIDI 27 
knobs MIDI out 78 



232 E-MU Systems 



Index 



lag processor 93 
lag amount 95 
latch 

beats part 43 
latch beats 21 
latch keys 37 

latch mode, arpeggiator 57 
layer 

copying a 185 

definition 115 

instrument 83 

selecting 115 
layering presets 167 
legato 130 
LFO 137 

effect B 72 

flanger 182 

key sync 139 

master FXB rate 72 

rate 172 

rate, effect 72 

tricks & tips 138 

trigger 90 

variation 141 

waveforms 89 

waveshape 138 
linking presets 155, 156, 167 
looping envelopes 88 
low frequency oscillator 85, 8S 

delay 140 

free running 139 

sync 137, 139 

variation 141 
low-pass filter 102 
low-pass filter, example 104 

M 

main screen 30, 35, 65 
master 

arpeggiator 22 

arpeggiator parameters 50 

bend range 66 

clock 

current tempo 36 
modulation 90 

effects 169, 174, 177 

FXA algorithm 70 

FXB algorithm 71 

menu 65 

menu button 25 

riff 39, 46 

tuning 66 
melody solo mode 

(high) 130 

(last) 130 

(low) 130 
menu 

master 65 



137 



save/copy 183 
MIDI 77 

A-H messages 27 

bank select display 17, 26 

channel selection 30 

clock 36 

continuous controllers 75, 85, 108 

controller #7 31 

device ID 73 

enable 74 

external clock 90 

footswitches 76 

implementation chart 222 

in 14 

inputs A & B 15 

knobs transmit 27, 78 

mode 34, 73, 169 

multi mode 73 

omni mode 73 

out 15 

out, arp/beats 48 

pan control #10 32 

poly mode 73 

real-time controllers 108 

receive program change 75 

received channel commands 224 

receiving sysex data 81 

recording sysex data 81 

send sysex data 81 

song start 48, 58 

standardized controller numbers 76 

sync 48 

sysex data, sending 80 

sysex packet delay 80 

transmit, knob 78 
MIDI sysex 

send/receive 81 
minimoog, solo mode 131 
mix output 145, 170 
mod wheel 85 
mode 

arpeggiator 51 

arpeggiator latch 57 

control 25 

controller 27 

deep edit 78 

effect bypass 176 

factory 160 

filter envelope 163 

latch 57 

MIDI 73, 169 

mono 224 

multi 73, 169, 224 

non-transpose 130 

omni 73, 176, 224 

poly 73, 176, 224 

quick edit & real-time controller 28 

real-time controllers only 27 

solo 130 

time-based 163 
modulation 

amplitude 84 



Mo'Phatt Operation Manual 233 



Index 



clock 91 

destinations 92 

note-on 92 

polarity 143 

processors 93, 97 

random 86 

routing 142 

sources 85, 86 

sources & destinations 144 

wheel 76 
modulation, definition 84 
mono aftertouch 85 
mono A-l, assign group 131 
mono mode 224 
morph filter 106 
multi channel arp 23 
multi mode 73, 169, 224 

control, effects 176 

effects control 69 
multimode map 

send/receive 80 
multiple arpeggiators 63 
multiple trigger solo mode 130 
multisetup 

saving 190 

send/receive 80 
multitimbral operation 34 
mute beats 37 



N 

naming a user pattern 62 

naming, preset 114 

noise & random generators 85 

non-transpose mode 130 

notch filter 103 

note value 

arpeggiator 52, 56 
note-on modulation 92 



offset, arpeggiator key 60 
omni mode 73, 176,224 
output 

headphones 14 

jack 14, 15 

mix 145, 170 

mono 14, 15 

routing 145 
overall tuning, adjusting 66 



packet delay, MIDI sysex 80 
pan 107 

channel 32 

initial 126 

preset link 155 
pan control 32 
panning delay, effect 182 
panning L/R 32 
parameters 

effects 171 
parametric filters 105 
part, beat 37 
patchcord 86, 142 

amount 108, 142 

copying a 186 

example 97 

routing 92 
pattern 

arpeggiator 49, 52, 59 

duration 61 

naming 62 

repeat 61 

speed 52 

velocity 61 
pedal 85 

percussion maps 213 
performance controllers 85 
pink noise, example 99 
pitch wheel 85, 165 

master bend range 66 
pitch, shifting 158 
pitchbend range 145 
play solo layers 156 
polarity, modulation & LFO 143 
polarity, ramp rate 96 
pole filters 104 
poly all, assign group 131 
poly mode 73, 176, 224 
portamento 132 
power 16 

power consumption 225 
preset 

architecture 115 

audition 17, 26 

category 19, 33, 196 

changing 19 

copying 184 

editing 157 

effects 146, 173 

lag 95 

links 155, 156, 167 

listing 197,201 

MIDI changes 75 

naming 114 

quick edit 77 

random 190 

saving a 183 



234 E-MU Systems 



Index 



selecting 18, 30 

user 81 
preset ramp 95 
processor 

4x gain 94 

absolute value 93 

diode 94 

effect 169 

flip-flop 94 

modulation 97 

quantizer 94 

summing amp 93 

switch 93 
product description 1 
product ID 223 
program change, receive 75 
program/preset map 

send/receive 80 
program->preset map 74 
programming basics 83 
props 226 



Q 103, 134, 135, 161, 162, 164 
quantized 55 
quantizer 94, 100 

example 99 
quarter note marker 26, 37 
quick edit 28 

preset 77 



ramp rate 96 
random 

creating presets 190 

crossfade 86 

crosswitch 123 

generator, noise and 85 
random modulation sources 86 
range 

arpeggiator key 58 

extension count 54 

key 117, 118 

keyboard 117 

pitchbend 145 

velocity 120 
rate 

effect LFO 72, 172 

glide 132 

LFO 139 
rate, master FXB LFO 72 
rate/level envelopes 87 
real-time control of arps 50 
real-time controller 25, 27, 108 

assignment 75 

crossfading 122 

mode, quick edit and 28 



real-time crossfade 122 

receive program change 75 

received channel commands, MIDI 224 

receiving & recording MIDI SysEx data 81 

rectifier 93 

release velocity 85 

release, envelope 159 

renaming an arpeggiator pattern 62 

repeat 

arpeggiator pattern 61 

pattern 61 
resonance 103, 134, 135, 162, 164 
reverb 171, 180 
reverb, envelope 180 
riff 

assignment 156 

beat marker 26, 37 

controllers 47 

listing 210 

loop marker 26, 37 

MIDI out 78 

playing 17, 26 

tempo 47 
ROM card identifier 18 
routing 

FXA & FXB submix 71, 72, 149, 150 

modulation 142 

output 145 



safety instructions 3 
save 

arp/beats 35 
save/copy button 26 
save/copy menu 183 
saving presets 183 
Scarlatti tuning 153 
screen 

main 30, 35, 65 

preset select 30 
screen viewing angle 82 
selecting a MIDI channel 30 
selecting presets 18, 30 
send 

preset effect 145 
send amount 

FXA 71, 149, 150 
send amounts 169 
sends 

effect 68 
sequence 

using multisetups in a 188 
setup 

basic 14 

studio 15 
signal path 107, 169 
slapback 181 



Mo'Phatt Operation Manual 235 



Index 



slapback, effect 181 
solo layer 156 
solo mode 130 
song start, MIDI 48, 58 
sound navigator 33 

selecting instruments 116 
sound start 129 
sources, modulation 144 
specifications, technical 225 
split 

keyboard 155 
splitting the keyboard 167 

using links 167 
stack 

layers 119 

presets 155 
standard MIDI switch numbers 77 
standardized MIDI controller numbers 76 
start/stop groove 37 
status, arpeggiator 51 
step-by-step instructions 157 
stereo delay, effect 182 
stolen voices 131 
studio setup 15 
submix routing 

FXB 72 
summing amp processor 93 
summing nodes 84 
superbeats 35, 36 

definition 36 
swept EQ filter 105 
switch 

mod processor 93 
switch processor 93, 97 
sync 

arpeggiator 55 

key 55 

LFO 137, 139 

MIDI song start 48 
synth solo mode 

(high) 131 

(last) 130 

(low) 131 
sysex 

packet delay 80 
system exclusive 

device ID 73 

ID 73 

send data 81 



tap tempo 36 

technical specifications 225 

tempo offset 156 

tempo-based 127, 160 

tempo-based envelope 88, 136 

time 



arpeggiator gate 53 

master FXB delay 72 
time based envelope 87 
time-based 127, 160, 163 
time-based envelope 136 
transmission errors 80 
transmit MIDI, knob 78 
transpose 66, 125, 126 

arpeggiator 54 

preset link 155 
transpose, part 45 
trigger channel 39 
trigger key 37 
trigger keys 21 
trigger layouts 216 
trighold 38 

troubleshooting, filter 166 
tune 66 
tuning 126, 158 

19-tone 153 

coarse 158 

equal temperment 153 

fine 158 

gamelan 153 

justC 153 

key 82 

keyboard 153 

vallotti 153 
tuning tables 

send/receive 80 
tutorial, filter 101 
tutorial, programming 157 

U 

unlatch beats part 43 
user 

presets 81 
user key tuning 82 
user pattern 

arpeggiator 59 

naming 62 

repeat 61 

velocity 61 



Vallotti tuning 153 
variation, LFO 141 
velocity 

arpeggiator 53 

crossfade 120 

curve 67, 219 

key 85 

preset link 155 

release 85 

user pattern 61 
vibrato, effect processor 182 



236 E-MU Systems 



Index 



viewing angle, screen 82 
voices 

changing 157 
voices, stolen 131 
voltage setting 16 
volume 

control 25 

control #7 31 

curve 159 

envelope 107, 127, 128, 159, 160 

preset link 155 
volume envelope 87 
volume, channel 31 
volume, initial 126 



W 

waveforms 

inverting 90 

LFO 89 
weight 225 

Werkmeister tuning 153 
wheel 

modulation 76, 85 

pitch 85, 165 
width, chorus 159 

X 

X-factor (transpose) 45 

Z 

Z-plane filter 106, 107, 132 



Mo'Phatt Operation Manual 237 



Notes 



Notes 



238 E-MU Systems